Press kit - Les Arts Décoratifs

Transcription

Press kit
Exhibition
at Les Arts Décoratifs
from November 21st, 2013
to March 30th, 2014
Press contacts
Marie-Laure Moreau
Isabelle Mendoza
[email protected]
T. +33 (0) 1 44 55 58 78
F. +33 (0) 1 44 55 57 93
Press kit
Typorama
Philippe Apeloig
www.lesartsdecoratifs.fr
Contents
Press release
3
The Typorama book
7
Excerpt from Signs of Life,
by Alice Morgaine
10
Excerpt from A pour Apeloig,
by Ellen Lupton
13
L’Atelier
16
Apeloig Type Library,
Nouvelle Noire
17
Around the exhibition:
Lecture and workshops
18
Sponsors
19
Contacts
23
November 21st, 2013 – March 30th, 2014
2
Press kit
Typorama
Philippe Apeloig
Press release
Les Arts Décoratifs is showing the first major
retrospective of the graphic designer Philippe
Apeloig, spanning a 30-year international career
that he has also recounted in a book, Typorama,
published specially for the exhibition.
Philippe Apeloig has found inspiration in the
modernist movements seeking a fusion of art
and design (Constructivism, the Bauhaus, De Stijl)
and in his passion for painting, the performing
arts and literature. He works chiefly for major
cultural institutions (Musée d’Orsay, Louvre,
Théâtre du Châtelet), publishing houses (éditions
de La Martinière, Robert Laffont, Phaidon Press),
art galleries (Galerie Gagosian, Galerie Achim
Moeller) and major brands (Puiforcat and Hermès).
For this exhibition Philippe Apeloig has selected
more than 150 posters, logos, typographies,
books and visual identities and is also showing
numerous preparatory studies.
Education
Born in Paris in 1962, Philippe Apeloig studied at the École Supérieure
des Arts Appliqués “Duperré” then at the École Supérieure Nationale des
Arts Décoratifs (Ensad). At Duperré, he enrolled in the “visual expression”
section, attracted by the creative dimension evoked by its title but
unaware of the contents of its curriculum. It proved to be a crucial choice
because he discovered calligraphy and the painstaking drawing skills it
involves. In 1983 he won an internship with Total Design in Amsterdam,
founded in 1963 by Wim Crouwel, which made a profound impact on
the visual environment in the Netherlands. In the early 80s, Total Design
was already using a revolutionary design tool: the computer. For Philippe
Apeloig, this avant-garde approach to graphic design opened up entirely
new perspectives in the contemporary and experimental uses of typography,
and also the use of the grid as layout structure (pioneered by the Swiss
graphic designers). During a second internship at Total Design in 1985,
he further immersed himself in the discipline of collective work in a studio,
and in the Stedelijik Museum discovered Mondrian and Malevich. These
decisive experiences further enriched his cultural universe, then largely
focussed on theatre and contemporary dance, particularly the work
of Alwin Nikolaïs, Merce Cunningham and Pina Bausch, from which
stemmed the idea to treat the letter as a choreographed body.
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Press kit
Typorama
Philippe Apeloig
Press release
Musée d’Orsay, Chicago poster
At 23, Philippe Apeloig was appointed graphic designer for the Musée
d’Orsay, where he implemented the visual identity designed by Bruno
Monguzzi and Jean Widmer, whom he particularly admired. The museum
opened to the public in December 1986, and a few months later showed
its first exhibition, “Chicago, naissance d’une métropole 1872-1922”,
focussing on American architecture and urban planning. Apeloig based
his poster design on a period photograph of a perspective view of
a Chicago street. Using the new technologies he had discovered at Total
Design, notably computer assisted design, he placed the letters of the
word Chicago in the image so that they have an effect like a gust of
wind, wedding the form of the buildings and emphasizing the perspective.
The text embedded in the image creates a sensation of vertigo and
a powerful three-dimensional effect whose frozen movement conveys
the idea that time has stood still. It was one of Philippe Apeloig’s first
posters and also one of his most emblematic.
Poster for the exhibition Chicago, naissance
d’une métropole, 1877-1922 at Musée d’Orsay, Paris,1987
Design: Philippe Apeloig
Posters for the festival Octobre en Normandie
Octobre fait danser la saison, Rouen, 1995
Octobre ouvre la saison en musique, Rouen, 1995
Los Angeles, Rome, New York
In 1988, he spent a year in Los Angeles completing his training with
April Greiman, one of the leading Californian New Wave designers, and
also a pioneer in the creative use of the Macintosh. On his return to
France, Philippe Apeloig created his own design studio and, at Richard
Peduzzi’s invitation, joined the teaching team at Ensad, where he taught
typography from 1992 to 1999. In 1993, during a year’s residency at the
Villa Medici in Rome, he designed typefaces that were immediately used
for posters of the October festival in Normandy, and for which the Type
Directors Club (TDC) in Tokyo awarded him their Gold Prize in 1995.
On his return from Rome, he became a consultant, then artistic director
of the Louvre until 2008.
From 1998 to 2003, he moved his studio to New York, where he became
a teacher with tenure at the Cooper Union School of Art, one of the most
selective art schools in the United States, whose free courses encourage
talent from all social backgrounds. He was also curator of the Herb Lubalin
Study Center of Design and Typography from 2000 to 2003, organising
several exhibitions, including “Jean Widmer. A Devotion to Modernism”,
and a series of lectures on graphic design..
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Press kit
Typorama
Philippe Apeloig
Press release
Petit Palais, Yves Saint Laurent poster
Philippe Apeloig designed numerous posters for events and exhibitions,
including the Yves Saint Laurent retrospective at the Petit Palais in 2010.
This poster is a collage of the famous YSL logo created by Cassandre
in 1961, the yellow red and blue of the Mondrian dress the couturier
designed in 1965 and, in the background, a detail of a photograph
of Yves Saint Laurent taken by Pierre Boulat in 1962. The poster creates
associations of ideas by drawing on the biographical content in Yves
Saint Laurent’s work. As in most of Philippe Apeloig’s graphic compositions,
space is constructed with typographic and symbolic elements that have
the effect of opening up a dreamlike world.
Aix-en-Provence, posters for La Fête du Livre
Poster Yves Saint Laurent for the retrospective
held at Petit Palais Musée des Beaux-Arts de la Ville
de Paris, 2008
Since 1997, Philippe Apeloig has worked for the Fête du Livre in Aix-enProvence. His yearly designs have been inspired by the literary universes
of the guest authors, including Philip Roth in 1999 and Kenzaburo- O-é
in 2006, and of course contemporary themes. For example, for the 2012
Fête du Livre, Philippe Apeloig designed a light blue poster traversed
by an archipelago of black letters forming the words of the season’s
title, “Bruits du monde”. Some of them have a heavily inked fingerprint
that could symbolise the act of mutilating or stopping a haemorrhage.
Abstract but also sentimental, the composition evokes frontiers subject
to invasion and all kinds of bombardments: ideological, political, journalistic, military and psychological.
The logos
The Typorama exhibition also features videos showing the process of
designing a logo. A series of animations will show the successive stages
of this exercise in precision and conceptualisation. Since 2006, Philippe
Apeloig has been working with the Théâtre du Châtelet in Paris, for
whom he designed the logo, visual identity, posters and programmes.
His numerous logo designs include Musées de France (2005), the Institut
National d’Histoire de l’Art (2001), the Domaine de Chaumont-sur-Loire
(2012), the Musée d’Art et d’Histoire du Judaïsme (1997), the Brazil Year
in France in 2005, the Istituto Universitario di Architettura di Venezia
(2004), the silversmiths Puiforcat (2012) and the Louvre Abou Dhabi (2013)
whose signage he designed in collaboration with Ateliers Jean Nouvel.
Poster for the Fête du Livre in Aix-en-Provence
Bruits du monde, 2012
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Press kit
Typorama
Philippe Apeloig
Press release
Rouen, Bateaux sur l’eau poster
Presented in sequences of fifteen plates, the sketches reveal the scope
of his research and his use of a variety of traditional and digital techniques
(drawings, collages, photos and laser prints). They give us the keys to
understanding his creative process via his preparatory studies.
For example numerous sketches illustrate the design process of the
“Bateaux sur l’eau rivières et canaux” poster created for the Voies
Naviguables de France (VNF) exhibition of model boats shown at the Rouen
Armada festival in 2003. The finished poster is a typographic landscape,
a delicate interplay of partially submerged words, their reflections and
the blue surface.
Grand Palais, Le Saut Hermès poster
Poster Bateaux sur l’eau, rivières et canaux,
for the Voies Navigables de France (VNF),
Armada, Rouen, 2003
The Carré d’Art de Nîmes, the Palais de la Découverte and the Musée Rodin
commissioned designs. In 2013, Hermès asked Philippe Apeloig to design
the visual identity of Le Saut Hermès, a show jumping competition at
the Grand Palais. The poster’s expressive typography creates an image of
a jumping horse with white letters on the Hermès orange background.
The lines of the text intermingle with thin black lines forming a drawing
of a jumping horse and rider. This free, spontaneous design beautifully
captures the spirit of this sporting event.
We are often confronted with hybrid letters and new typefaces, and
invited to rethink our way of reading and deciphering images.
The Typorama exhibition reveals the powerful emotional charge in
Philippe Apeloig’s work, which transcends design’s functional aspect
to become a fusion of art and typography.
Poster for Le Saut Hermès au Grand Palais
Design, Jumping International CSI 5, Paris, 2013
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Press kit
Typorama
Philippe Apeloig
The Typorama book
Typorama, Philippe Apeloig, graphic design
More than a mere monograph, this book is an invitation to explore
the inner world of Philippe Apeloig’s creative process.
The idea germinated when Philippe Apeloig and Tino Grass, a young
German graphic designer, met during a series of lectures on typography
in Düsseldorf in 2006. When he discovered Philippe Apeloig’s archives,
Tino Grass wanted to illustrate his creative process by showing the
successive stages of a project, from the initial sketches to the final design.
The book begins with two essays by Alice Morgaine and Ellen Lupton,
fully illustrated with images, clips from films and other sources revealing
Philippe Apeloig’s imaginative universe.
The book is then divided into two sections.
Edited by Tino Grass, a Cologne-based graphic
designer. He has been teaching typography in
several universities for art and design. He is the
author of a book on typography, Schriftgestalten,
über Schrift und Gestaltung (Niggli, 2008).
Essays by:
Ellen Lupton, curator of the contemporary collections at the Smithsonian Cooper-Hewitt, National
Design Museum in New York, and author of several
publications, including Thinking With Type. A Critical
Guide for Designers (2004), Skin. Surface, Substance,
Design (2007) and Graphic Design. The New Basics
(2008).
Alice Morgaine, adviser to the artistic director
of Hermès. She began her career as a journalist
at L’Express (1962-1978) and at Jardin des modes
(1979-1997), then curated the exhibition programme
at the Verrière-Hermès in Brussels (1999-2012).
The commentaries were written by Ann Holcomb,
based on descriptions and project histories provided
by Philippe Apeloig. The French version of these
texts was edited by Michel Wlassikoff.
– The first section has five thematic chapters:
Museums,
Theatre, music and dance,
Publications,
Posters and typography,
Logos and visual identities.
An exhaustive overview of Philippe Apeloig’s finished works, each with
detailed commentaries and fully illustrated, ranging from the posters for
the Musée d’Orsay when it first opened in 1986-87 to logo of the Louvre
Abu Dhabi in 2013.
– The second section focuses on Philippe Apeloig’s preparatory studies,
presented chronologically from the most recent to the earliest. His computer drawings, photocopies, photos, collages and sketches all provide a
fuller understanding of how he develops his projects, and also highlight
the evolution of design techniques since the 80s, when digital technology
revolutionised the work of the graphic designers of his generation.
The Typorama book gave rise to the exhibition at the Musée des Arts
Décoratifs from November 21st, 2013 to March 30th, 2014.
Format: 29.5 × 24 cm, 893 images
Sewn binding
Design: Tino Grass with the participation
of Anna Brugger for Studio Apeloig
Cover: Philippe Apeloig
Prix (incl. VAT): 55 €
French version: Éditions Les Arts Décoratifs
English version: Thames & Hudson
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The book Typorama
Press kit
Typorama
Philippe Apeloig
The prints of Japanese ukiyo-e artist Hiroshige and Guillaume
Apollinaire’s poem “Il Pleut” (1918), handwritten in lines of rainfall,
would further alter Apeloig’s perception of how movement
can be conveyed visually. He began to choreograph letters
and entire words in a way similar to how the German Bauhaus
painter, sculptor, and director Oskar Schlemmer had reconfigured
the human form in geometric terms. “When one creates a
poster, a logo, or a typeface,” says Apeloig, “one is constantly
referring back to the Bauhaus in one way or another.”
When working at the Musée d’Orsay some years later, Apeloig
came across the photographs of Étienne-Jules Marey and
Eadweard Muybridge, which deconstruct the process of
walking and running via a series of freeze frames. Movement
and the passing of time, the links between the past and the
future, have remained an integral part of Apeloig’s work.
13
15
Total Design
The library at the School of Applied Arts had only three
books on contemporary graphic design – two didactic works
and a copy of Milton Glaser’s Graphic Design (1973) with
a psychedelic portrait of Bob Dylan on its cover – so Apeloig
began to build his own collection. His first purchase was
English designer F. H. K. Henrion’s Top Graphic Design (1983),
which introduced him to Roman Cie lewicz, Odermatt & Tissi,
and, most importantly, Wolfgang Weingart. Apeloig dreamed
of studying under Weingart, who, he later said, “turned
Swiss graphic design on its head. As the pioneer of all that
would subsequently be achieved through the use of computers, he is the spiritual father of contemporary graphic design.”
12
14
Roger Druet was aware of his student’s reading materials and
interest in graphic design and suggested that Apeloig apply
for an internship with the Dutch design studio Total Design
during his second year. Apeloig applied and landed a threemonth placement at this important design studio on the banks
of Amsterdam’s Herengracht canal. The summer of 1983
he worked as part of Daphne Duijvelshoff-van Peski’s team,
surrounded by fellow students from Switzerland, Germany,
and America, all of whom were better trained. He soon familiarized himself with the work of Piet Mondrian, Kazimir Malevich,
Gerrit Rietveld, Theo van Doesburg, Piet Zwart, and the Dutch
De Stijl art movement, and he began to work on various
poster projects and annual reports, while also learning about
the fundamentals of page layout, including the grid.
17
16
18
Abstract graphic designer Wim Crouwel and five peers had
founded Total Design in 1963. Crouwel was fascinated by
the possibilities offered by computers and in 1967 designed
the audacious typeface New Alphabet, an early attempt at
a digital type. It consisted only of straight segments, similar
to architectural elements. The computerized geometry of
the letters served as a springboard for creativity. The following
year, Crouwel designed a totally novel black-and-white
typographic poster for the exhibition “Vormgevers” (Designers)
at the Stedelijk Museum in Amsterdam and left the construction grid visible (page 208). In his brochure New Alphabet,
published in 1967, Crouwel explained the origins and guiding
principles of his almost elemental graphic approach. The
brochure remains an essential read for anyone designing
characters today – an introduction to the possibility of creating
freely with letters. During his internship, Apeloig was lucky
enough to try out Aesthedes, the latest and most sophisticated
computer system available during the early 1980s. He was
quick to recognize that computers would transform graphic
design, both in practice and in outcome, as every aspect of
typography would become easy to manipulate at will.
Total Design took a primarily functionalist approach to design
but also nurtured the spirit and theories of the De Stijl
movement, which could be applied to both industrial design
and to typography. Crouwel himself was greatly influenced
by contemporary art and he designed numerous exhibition
posters for the Van Abbemuseum in Eindhoven between
1950 and 1960, and for the Stedelijk Museum between 1963
and 1985. His posters avoided the simple reproduction of
a work of art, instead opting for an assertively modernist and
analytically abstract typographical approach that still clearly
reflected a modern aesthetic. Apeloig learned from this
approach and from the questions forever being posed in the
Total Design studio: “How can we turn something seemingly
functional into something creative?” “How can we adjust
typography to its correct scale, and intuitively manage
to position and order everything perfectly, while retaining
a specific emotional tension?” In 2010, aware of Apeloig’s
admiration for Crouwel and at the instigation of Unit Editions,
the Design Museum in London invited Apeloig to create
a limited-edition poster for its exhibition on the Dutch designer
(page 209). The poster followed Crouwel’s grid and orthodoxy
to the letter. Total Design’s conciseness, rigor, functionality,
and highly original sophistication had a lasting influence
on the idealistic, enthusiastic Apeloig, who remembers how he
felt, even then, like “I was in the right place at the right time.”
12 Wolfgang Weingart (born in 1941)
Schreibkunst, 1981
Poster
Kunstgewerbemuseum, Zurich
13 Milton Glaser (born in 1929)
Bob Dylan, 1973
Poster
Musée des Arts Décoratifs, Paris
14 F. H. K. Henrion (1914 – 1990)
Top Graphic Design, 1983
Book
ABC Verlag, Zurich
15 Gerrit Rietveld (1888 – 1964)
Zig-Zag Chair, 1934
Musée des Arts Décoratifs, Paris
16 Philippe Apeloig
Total Design Intern Report, 1983
Montage of film stickers
and transfer letters
Amsterdam
17 Wim Crouwel (born in 1928)
New Alphabet, 1967
Brochure
De Jong & Co. Lithographers,
Hilversum
Stichting Stedelijk Museum,
Amsterdam
18 Wim Crouwel
Fernand Léger, 1957
Poster
Van Abbemuseum, Eindhoven
Stichting Stedelijk Museum,
Amsterdam
14 | 15
Direction des musées
de France
The Direction des musées de France (National
Museum Board of France, an arm of the Ministry
of Culture and Communication) has administrative
responsibility for thirty-four national museums
and over 1,150 regional, local and associatively run
museums. In need of a standardized, uniform system
to identify every institution under its purview, the
government agency launched a competition for
a universal ideogram, which Apeloig won. The goal
was to create a logo that would allow the public
to instantly identify the museums on a map,
in publications, and in situ as part of this network.
Logotype
Direction des musées de France, Paris
Typeface: Frutiger Condensed Black
2004
See pages 316 – 17
The design concept was developed around a lowercase m, set in Frutiger Condensed Black. The small m
is friendlier and less intimidating than a capital M
and so suited to making public sites of high culture
seem more accessible. The m is placed inside
an open rectangle delineated by dotted and dashed
lines. The compositional arrangement resembles
a gallery floor plan with diverse access points.
Surrounded by open space, the m becomes the object
on display – as if it were a drawing, painting, or
sculpture. The logo embodies both functionality and
modernity, and all manner of museum collections.
226 | 227
Program
Saison 2006 – 07
Châtelet, Théâtre musical de Paris
21 × 5.5 cm (8¼ × 2� in.)
Printer: Stipa/PLJ Édition Communication
Typeface: Akkurat
2006
Program
Saison 2008 – 09
14.5 × 9.5 cm (5¾ × 3¾ in.)
Typeface: Akkurat
2008
Program
Saison 2011 – 12
14.5 × 9.5 cm (5¾ × 3¾ in.)
Typeface: Akkurat
2011
Châtelet
Théâtre musical de Paris
Founded in 1862, the Théâtre du Châtelet gained
fame during the first half of the twentieth century for
operettas featuring the most famous artists of the
day. After undergoing a major renovation, the Châtelet
reopened in 1980 under the name Châtelet, Théâtre
musical de Paris. Today, it presents musicals, opera,
and dance, as well as classical, jazz, and pop concerts.
The organization’s logo, designed by Apeloig in 2006,
draws attention to music, which lies at the heart of
both the theater program and its language. It uses
the font Akkurat, created by Laurenz Brunner in
2004. The design cuts “Châtelet” into three syllables,
stressing the sonority and rhythm of the word.
Apeloig plays with the theater’s evolving identity by
stacking the fragments “châ,” “te,” and “let” in large,
bold lowercase type and by sandwiching “Théâtre
musical de Paris” in small uppercase letters between
them. Lines around the central second syllable “te”
suggest a note dissected from a score.
The first printed program was designed to emulate
a Pantone color fan, giving the public a tactile and
visual understanding of the season’s offerings.
The use of bright colors – hot pink and neon yellow –
shocks the eye. The narrow pages flip freely, creating
a sense of rhythm, repetition, and surprise.
94 | 95
Interior pages from the Typorama book, 2013
8
The book Typorama
Press kit
Typorama
Philippe Apeloig
Yves Saint Laurent
A detail of a 1960s photograph of Saint Laurent
by Pierre Boulat was used for the poster’s background. It was reproduced using a large dot screen,
evoking not only newsprint but also silkscreen –
specifically, Andy Warhol’s emblematic 1972 portrait
of his friend. Over the image, in large white bold
capitals, lays the word “YVES.” The use of his first
name made the designer accessible. “Saint Laurent,”
in smaller red type, sits across the bridge of
Saint Laurent’s nose, drawing the viewer’s eyes to
his gaze.
A retrospective of Yves Saint Laurent’s fashion
designs at the Petit Palais, organized and curated by
the Fondation Pierre Bergé – Yves Saint Laurent
and Paris-Musées, was entitled “Yves Saint Laurent,
40 ans de création” (40 Years of Creation). In Apeloig’s
design solution, the title was shortened to the
name alone and broken down into two parts. Early
on in the design process, Apeloig realized that
Cassandre’s famous YSL logotype would provide the
main graphic element. His challenge was to overlap
visual layers without creating a cluttered look, in
keeping with Saint Laurent’s reductive style. Apeloig
wanted to express the soul of the designer, not
promote the brand. In a meeting room at the Fondation,
Apeloig spotted a gouache-and-ink drawing of the
1961 logo in photographs of Saint Laurent’s studio.
This original Cassandre drawing hung on a wall
behind his worktable. Handmade, with discernible,
delicate brush marks, it was easily differentiated
from the stamped commercial logo. Apeloig brought
it to life by reversing the color shading, which also
gave the brushstrokes the illusion of three dimensions. The palette’s proportions and yellow, red, and
blue color scheme derive from a 1965 Yves Saint
Laurent “Mondrian” dress. The new rendering of the
intertwined YSL integrates Cassandre’s design with
Saint Laurent’s haute couture.
Adolphe Jean-Marie Mouron,
known as A. M. Cassandre (1901 – 1968)
Yves Saint Laurent logotype, 1961
Gouache on paper
Poster
Yves Saint Laurent
Petit Palais, Paris
175 × 118.5 cm (68� × 46� in.)
Screen print
Printer: Sérica
Typeface: Avenir
2010
Informational text, placed vertically along the left
edge of the poster, follows the proportional coloring
established in the logo. The font is Avenir, designed
by Adrian Frutiger in 1988, which Apeloig selected
for its geometric aspect and subtle variations
in weight. It provides superb readability, matching
the clarity of Saint Laurent’s style. Uppercase letters
are used for the title, poster, and book layout.
Pierre Boulat (1924 – 1998)
Yves Saint Laurent, 1961
Photograph
Yves Saint Laurent (1936 – 2008)
Haute couture Collection
Fall/Winter 1965
Hommage to Piet Mondrian
Ecru wool jersey
60 | 61
Saut Hermès
Inaugurated in April 2010 by the luxury label Hermès
(originally a saddler), the Saut Hermès (Hermès
Jump), held at the Grand Palais in Paris, is an elite
competition of world-class show jumping. Hermès
commissioned Apeloig to design the poster for
the 2013 event. Expressive typography dominates
with each letter seemingly caught mid-jump.
The characters exercise within a spatial void filled
only with the signature color of Hermès: a pure
orange. Form and meaning merge as the title text,
set in white type and broken up into six lines, careens
across the surface, neither centered nor aligned
left or right. The letterforms vary in weight from bold
to extra light, a subtle modulation that intensifies the
energy of the composition. The capital As are the
most strenuous – real hurdlers – with legs set at
oblique angles. The lines of text are interwoven with
a spare drawing depicting a rider on a jumping horse.
The duo is modeled out of short black lines and
enters the picture plane from the left, moving forcefully
to the right. The angling of the clean, tapered black
strokes creates a sense of forward momentum and
speed. The drawing is interwoven with the letters
so that the two elements overlap and penetrate
one another — an edgy equilibrium remains between
them. The design overall is spontaneous and free,
as befits this sporting event.
Invitation
Saut Hermès
au Grand Palais, Paris
23 × 17 cm (9 × 6¾ in.)
Open: 23 × 51 cm (9 × 20� in.)
Typefaces: original creation, Avenir
2013
Poster
Saut Hermès
175 × 118.5 cm (68� × 46� in.)
Screen print
Printer: Lézard Graphique
Typefaces: original creation, Avenir
2013
See pages 284 – 85
210 | 211
Poster
Saut Hermès
2013
See page 210
284 | 285
Interior pages from the Typorama book, 2013
9
Press kit
Typorama
Philippe Apeloig
by Alice Morgaine
from the book Typorama, published by Thames & Hudson
Sources
He acknowledges his sources openly, referencing them with enthusiasm
and admiration. For him, creativity is born from engaging with the creative
output of others, enriched by history, the spirit of the times, and the subtle
differences of the past. The result is either blindingly simple or spectacularly
modern depending on the case. Apeloig confides that “Matisse’s painting
The Dance combines everything I love about art: movement, rhythm,
areas of solid color, simplified forms, and the notion of scenic space.” He
is also deeply moved by Joan Miró’s work, with its naïve, poetic, childish
vision of the world – an aesthetic often found in contemporary graphics.
The works of Eileen Gray and Carl Andre, as well as some of the drawings
of Sol LeWitt, with their repetitive systems and geometry, have also
influenced Apeloig’s typefaces. Interestingly, none of this thinking and
studying of art and literature, always undertaken in an unhurried, leisurely
manner, is immediately visible in Apeloig’s works, which appear to have
been perfectly thought through and structured, then assembled like
high-precision machines. First, there’s the impact, then a feeling of surprise,
a smile… Only later, upon scrutiny and closer analysis, does the work
start to reveal his utopian dreams for a just and peaceful world.
Poster Matisse & Rodin,
for the Musée Rodin, Paris 2009
There’s something quixotic about Apeloig’s drawings, words, and
motivations, as well as something that has come from afar – wounds never
received, wars never known, organized massacres from which he was
spared, a totalitarianism never suffered. A personal and universal sense
of responsibility for every being on earth pervades his work. As Antoine
de Saint-Exupéry said in his book Flight to Arras: “Each of us individually
is responsible for everyone”. This sentiment also appears in the works
of the Russian Constructivist artist El Lissitzky, who illustrated Ilya Ehrenburg’s
short story “Shifs karta” (Boat ticket) by sticking Hebrew characters
onto a handprint. “Lissitzky’s use of an outstretched hand in guise of a
refusal”, says one of the artist’s biographers, “matches Malevich’s
statement, ‘That the rejection of the old world of arts be marked on the
palm of your hands’ (from Unovis leaflet No. 1)”. Apeloig looked to this
hand and to Chagall’s Self-Portrait with Seven Fingers when designing
the logo for the Musée d’art et d’histoire du Judaïsme (Jewish Art and
History Museum) in Paris. The museum chose not to go with this symbol,
however, preferring Apeloig’s 1997 black-and-white stylized design of a
lit menorah, which is evocative of a seal, an ancient coin, or a hallmark.
Poster Brésils Brésils, Année du Brésil en France,
for the Association française d'action artistique, 2005
10
Press kit
Typorama
Philippe Apeloig
by Alice Morgaine
Apeloig has, from the outset of his career, worked predominantly on
cultural projects, particularly institutional ones. Pierre Rosenberg, curatorin-chief of the paintings department at the Louvre, chaired the scholarship
selection jury that sent Apeloig to the Villa Medici in 1993. Later, as director
of the Louvre, he entrusted Apeloig with the upkeep of the museum’s
visual identity, which was originally designed by Grapus in 1989. Apeloig’s
first poster, celebrating the 100th anniversary of the Society of Friends
of the Louvre in 1996, featured close-ups of twenty artworks from the
museum’s seven departments, a sort of photographic who’s who. Over
the next nine years, Apeloig’s collaboration with the Louvre grew even
closer, with the new director, Henri Loyrette, appointing him artistic
director with his own in-house team. […]
A Conscientious Approach
Poster Saison 1996-97,
for the musée du Louvre, Paris, 1996
Since 1997, Apeloig has been creating graphics for the posters and
programs of the Fête du livre, an annual book festival dedicated to foreign
literature in Aix-en-Provence. Faced with the daunting but enjoyable
challenge of producing graphics to accompany the words of major writers
from around the world, Apeloig has immersed himself in the writing of
authors such as Philip Roth, Toni Morrison, and Kenzaburo- O-é, experimenting
with ways of transcribing their literary universe through graphic design.
The portraits and themes he has devised for the festival over the years
– for example, “Lire la Caraïbe” (Reading the Caribbean), “L’Asie des écritures
croisées” (An Asia of Intersecting Writing: A Real Novel), and, more recently,
“Bruits du monde” (Noises of the World) – have become iconic to us today
and were the result of intense intellectual research. Similar consideration
led to Apeloig’s 2004 brand work for the Istituto Universitario di Architettura
di Venezia (University Institute of Architecture, Venice), in which the
school’s initials, IUAV, were symmetrically placed one on top of another
like the floors of a building. The resulting logo, which is legible recto
or verso, is deceptively simple, as if it had always existed, and constitutes
an important benchmark in the work of Apeloig’s studio. He devised
a similarly harmonious and coherent logo two years later for the Direction
des musées de France, the organization in charge of administering
France’s public museums.
Poster L'Asie des écritures croisées un vrai roman,
for the Fête du Livre in Aix-en-Provence, 2009
Poster Kenzaburo- O é, je suis de nouveau un homme
11
Press kit
Typorama
Philippe Apeloig
by Alice Morgaine
Magazine Mixt(e), 2011
Exhibition catalog James Turell,
for the Gagosian Gallery, London, 2011
The layout of any art book tells a story, with a beginning, a climax, and an
ending. Its cover acts like a trailer for a film: it has to make you want to
discover its contents straightaway. “When I design a book,” says Apeloig,
“I transform myself into a fashion designer, clothing the book in keeping
with its format, letting myself be won over by the complete range of
materials and finishing techniques available.” Guided by his love of the
written word, he tries to explore unusual publishing genres and sometimes
designs limited editions. The book’s contents have to be dramatized, its
design sparking off a sense of familiarity in readers that will make them
want to read it. A graphic designer must anticipate the reader’s gestures
and glances, using the rhythm of the page layout and visual accents to
lead the gaze in what could be described as controlled improvisation. Of
course, graphic design can be seen as an art form, but, as Apeloig points
out, “Talent is used to help put across a message or piece of information
for a client. The graphic designer’s vocation is similar to that of an actor
whose task it is to create a character and to recite an author’s text in the
clearest and most personal way possible. His interpretation reveals his
genius. If the text is incomprehensible and the role barely credible, one
might say he had performed badly and that the piece was a failure.
Similarly, the graphic designer must respect his client’s requirements. His
task is to interpret them visually. If he changes direction or monopolizes
the argument, rendering it indecipherable, he has failed. He has to take
account of the way the public perceives his images. A graphic designer’s
skill consists of finding a visual concept that makes [his] presence felt in
an obvious yet original way, and that is, of course, easy to remember.”
It is unusual for a graphic designer to have prior knowledge of a subject
when he first meets with a client. Everything has to be learned, “and
I adore that,” says Apeloig. Restraint, simplicity, and complexity are the
key words here, but the thought process is long and winding. Apeloig
therefore often uses old film-editing techniques: “I cut ideas into pieces,
putting them back together in a different order. I play around with them,
constructing my indecision until the composition looks strong enough to
work its way into the public’s visual memory. My job is to perturb.” […]
Book Recto Verso, for Take 5, 2012
12
Press kit
Typorama
Philippe Apeloig
Excerpt from A is for Apeloig,
by Ellen Lupton
from the book Typorama, published by Thames & Hudson
[...] Few structures are more ingrained in a designer’s vocabulary than
the grid, the network of coordinates that organizes nearly every page of
content, whether actively or indifferently. The Swiss rationalist designers
endowed the grid with a utopian edge in the 1950s and 1960s and it
later became the restrictive vernacular of desktop publishing, whose
graphical interfaces offer instant gutters, guidelines, and columns.
Apeloig’s grids are more dynamic, complex, and overt; they often sit on
top of the page rather than in the background and drive forward the
construction process rather than supporting it.
Apeloig discovered the potential of the grid during his internships at
Total Design, where he worked directly with Daphne Duijvelshoff-van
Peski and Jolijn van de Wouw, who in turn assisted the studio’s founder,
Wim Crouwel. Designers at the firm produced their sketches by hand on
tracing paper, always with a sheet of Rotring graph paper underneath.
All solutions were pursued typographically, in contrast with French
designers’ reliance on illustration and lettering. The preferred typeface
was Univers, and nearly always sans serif. For Apeloig, “This strict
approach was a symbol of modernity.”
Poster Le Havre, Patrimoine mondial de l’humanité, 2006
Inspired by Crouwel, Apeloig embraced the grid as both a generative
tool and system of organization. While Crouwel’s grids are largely
rational in their outcome, however, Apeloig’s structural nets seek out a
greater diversity of forms and relation-ships, openly embracing that
which is awkward, mis-matched, or disjunctive. The grid serves not only
to control and regulate but also to splinter, deform, and dissolve. At its
finest grain, the grid becomes a filter or screen that decomposes shapes
and surfaces into bits. The collision of strange shapes in the poster for
the 2010 exhibition “Radical Jewish Culture: Scène musicale New York”
(The New York Music Scene) finds an arrhythmic oddity and persistent
order in the mechanical heartbeat of the grid; modular letters float over
hand-scrawled notes by composer John Zorn. To give the lettering a
sense of depth, Apeloig produced a laser-cut stencil of the custom-drawn
characters. Spraying the stencil with powdered charcoal, he created
drawings that were later digitally retouched and overlapped to produce
shadows inside the letterforms, enhancing a sense of three dimensions.
Life seeps in through the cracks in the grid.
Poster Radical Jewish Culture Scène
musicale New York, for the musée d'Art
et d'Histoire du judaïsme, Paris 2010
13
Press kit
Typorama
Philippe Apeloig
by Ellen Lupton
In Apeloig’s poster for the 2007 exhibition “Wole Soyinka: La maison
et le monde” (Wole Soyinka: The House and the World), the usually
transparent, ethereal grid becomes physical and opaque. To celebrate
the work of this esteemed Nigerian author, Apeloig applied the traditional
weaving techniques of West Africa’s Yoruba people to the writer’s
portrait, slicing two copies of the image into narrow strips of contrast-ing
color and tone and then methodically weaving them together by hand.
The material pixelation resulting from this process added layers of depth
and disturbance to the author’s unwavering gaze. Apeloig created numerous
variations of the underlying image and its typographic overlay before
arriving at the final poster. His sketches show how he experimented with
different levels of abstraction and ways of incorporating typography on the
surface of the image, shuttling between physical and digital manipulations.
Poster and sketches of Wole Soyinka,
14
Press kit
Typorama
Philippe Apeloig
by Ellen Lupton
Apeloig’s fascination with deformed and overlapping grids reflects the
influence of the Swiss designer Wolfgang Weingart, who subverted
the tradition of Swiss rationalist typography beginning in the late 1960s.
Weingart would seed the global movement of Postmodern typography
by using the modernist vocabulary of type, line, shape, and grid in
complex and contradictory ways. His students include April Greiman
– the California-based designer with whom Apeloig interned in 1987 and
1988. From Greiman, Apeloig learned to embrace software as a source
of unexpected errors and strange new forms of beauty. With its layered
grids and eccentric curves, Apeloig’s 1990 calendar for “Bussière arts
graphiques” (Bussière’s Graphic Arts) recalls the work of Wolfgang Weingart.
His design of the 1989 book Bilan et perspectives ’89: les arts plastiques
(Balance and Perspective ’89: Visual Arts) incorporates Greiman’s more
spontaneous, digitally liberated sensibility, and her full-on rebellion against
the laws of the grid.
Book Comme un coursier indompté,
for the Imprimerie nationale, Centre national
des arts plastiques, Paris 1989
Press release Bilans et perspectives ’89,
les arts plastiques, 1989
15
Press kit
Typorama
Philippe Apeloig
L’Atelier
Philippe Apeloig created his studio in Paris in 1989 after his return from
Los Angeles. After an initial residency at the Cité Internationale des Arts
in Paris, he moved to the 11th arrondissement, where he worked with
a team of rarely more than three interns and assistants at a time.
From 1998 to 2002, he worked freelance in New York, teaching at
the Cooper Union School of Arts.
Back in Paris in the early 2000s, Philippe Apeloig led a team of young
graphic designers. L’Atelier, now in the 9th arrondissement, is composed
by a team of 5 to 6 people.
Since 2009, two fulltime collaborators have helped him with the conception
and realisation of the Typorama book and exhibition:
Anna Brugger, graphic designer, born in 1985 in Switzerland
and a graduate of the School of Applied arts in Basel.
Yannick James, graphic designer, born in 1983, and a graduate
of the École régionale des Beaux-Arts in Valence.
They were recently joined by Léo Grunstein, graphic designer, born
in 1988, a graduate of ENSAV La Cambre in Brussels.
16
Press kit
Typorama
Philippe Apeloig
Apeloig Type Library,
Nouvelle Noire
Apeloig Type Library
A b c d
e fgh
i j k l m n
o pqRst
u vwx
y z
Ten extraordinary typefaces designed by the French designer Philippe
Apeloig will be published as "Apeloig Type Library" by the Swiss
typefoundry Nouvelle Noire.
The Apeloig Type Library is a compilation of ten typefaces created by
Philippe Apeloig between 1993 and 2013. This outstanding library
makes visible Apeloig's distinctive approach to letters and type. Apeloig
conceives type design as a research and play between legibility and
form. A rich typographic expression and an impressive variety of shapes
have emerged from his creations, which defy legibility yet remain
accessible to the viewer.
Originating from his posters, book covers or corporate and visual
identities, each font began as a few letters designed especially for
a given project. Nouvelle Noire has undertaken the development of
typefaces from Apeloig's core letterforms. Over a two-year period,
Nouvelle Noire developed the designs into ten full working fonts.
All library fonts support a wide range of western European languages.
Opentype features are embedded in each font, depending on the
characteristics of the typeface. On the occasion of the Philippe Apeloig
retrospective "TYPORAMA" at the Musée des Arts décoratifs in Paris,
the Apeloig Type Library will be exhibited as a part of the exhibition,
open from 21 November 2013 to 30 March 2014.
The Apeloig Type Library will be published in November 2013
by Nouvelle Noire.
www.nouvellenoire.ch
Apeloig Type Library
01 2 3 45 6 7 8 9
17
Press kit
Typorama
Philippe Apeloig
Around the exhibition Lecture
Thursday, December 12th at 6.30 pm
Philippe Apeloig, a typographic performance
At the 111, rue de Rivoli, 75001 Paris
Métro Palais-Royal – Musée du Louvre or Pyramides
Reservations by e-mail: [email protected]
(limited number of spots)
Entrance fee: 5 € / Amis des musées 4 € / Students 2 €
Children’s workshops
Workshop: Au pied de la lettre (5 / 7 years)
Cutting out and playing with collage and drawing, children imagine and
create a small album in which letters take shape and become words.
The Typography Studio (8 /10 years)
Discovering the work of the graphic designer Philippe Apeloig encourages
children to draw, compose and play with letters and words to convey
their own messages.
Participation fee: 10 €
Duration: 2 hours
Maximum 15 participants.
Reservation obligatory: +33(0) 1 44 55 59 25
or by email to [email protected]
Guided tours for adults and adolescents, 15-25 years
A discovery of the new exhibitions.
Children from 8 years are welcome – contact us the day before
to reserve a visitor’s book for them.
No prior enrolment required: tickets at the ticket office.
The dates of all these activities are on the Arts Décoratifs website:
18
Press kit
Typorama
Philippe Apeloig
Sponsors
Fondation d'entreprise Hermès
Since its creation in 2008, the Fondation d'Entreprise Hermès has been
accompanying all those who are learning, mastering, passing on and
inventing the creativity that can construct today’s world and invent that
of tomorrow. Guided by the development of new knowledge, techniques
and skills, the foundation focuses on two complementary axes:
“knowledge and creation” and “passing on knowledge.”
On five continents, the foundation supports organisations and project
leaders working in these two fields, also creating its own programmes.
Since 2008, the Fondation d’Entreprise Hermès had regarded design as
a major creative discipline, and organises an international competition,
the Emile Hermès Prize to reveal young professionals. On a given theme,
the foundation invites them to invent tomorrow’s objects, taking two
notions into account: respect for the environment regarding production
and distribution, and the manufacturing and industrial skills and
techniques necessary to realise the project.
The foundation also regularly supports initiatives in the design field,
including the Design Parade at Villa Noailles and the Agora Scholarship.
As a member of the Arts Décoratifs Partners’ Club since 2008, the
Fondation d’Entreprise Hermès is now delighted to support Philippe
Apeloig’s Typorama exhibition, considering that graphic design is a vital
creative field in our time.
19
Press kit
Typorama
Philippe Apeloig
Sponsors
Voies navigables de France (VNF)
Philippe Apeloig’s creative relationship with Voies Navigables de France
began in 2003 with the Bateaux sur l’eau poster, for which he received
his first international award. Ever since, VNF has remained closely
involved with the artist and his work.
When VNF underwent a major transformation, regrouping the 4,700
employees of France’s waterways within a new Etablissement Public
Administratif on January the 1st 2013, we naturally asked Philippe
Apeloig to respond to our call for tender for VNF’s new visual identity
and graphic charter.
Philippe Apeloig is familiar with France’s river and canal system and its
challenges, and his artistic vision enabled VNF to renew its image with
a touch of modernity. The waterway, unifying symbol of all the actors
of France’s waterways, is composed of horizontal lines linked to these
fluvial landscapes. A combination of reflections, waterlines, river and
canal banks and quaysides at different distances, it visually structures
VNF’s identity. And some have even seen it as a reference to the containers
piled high along France’s rivers!
20
Press kit
Typorama
Philippe Apeloig
Sponsors
Le French Institute Alliance Française (FIAF)
The French Institute Alliance Française is a non-profit-making nongovernmental organisation founded in the early 20th century. Located
in midtown Manhattan, FIAF has become one of the most respected
Franco-American cultural centres in the United States.
The FIAF’s mission is to promote the French language and intercultural
dialogue through partnerships, artists’ residencies and a major cultural
programme. The language centre provides high-quality teaching for over
6,000 students and is the largest French language teaching centre in
the United States.
FIAF was lucky enough to meet Philippe Apeloig in 2005. Philippe’s
collaboration with Richard Peduzzi resulted in an original “staging” of our
building, on whose eight floors Philippe created an allegorical image of
France on coloured mural panels. The positioning of the FIAF brand was
also redefined and modernised. For eight years, Philippe Apeloig has
worked with our team to design and implement all our communication
with immense generosity and talent.
Philippe succeeded in giving FIAF a veritable visual identity on our
website, documents and brochures, projecting a modern, joyous and
original image, with the French touch so appreciated by Americans.
We are infinitely grateful to him for this, and this is why we are proud
to play our part in the success of this retrospective of his work.
21
Press kit
Typorama
Philippe Apeloig
Sponsors
Fondation Pierre Bergé – Yves Saint Laurent
The Fondation Pierre Bergé – Yves Saint Laurent is pleased to announce
its participation, alongside the Museum of Decorative Arts and Philippe
Apeloig, in the publication of the catalogue, "TYPORAMA APELOIG".
The Fondation thus revisits its successful collaboration with the young
and talented graphic designer who created the catalogue,"Yves Saint
Laurent", which accompanied the 2010 retrospective at the Petit Palais
in Paris (March 11– August 29, 2010).
The Fondation Pierre Bergé – Yves Saint Laurent honors forty years of
creativity. It conserves the fashion designs created by Yves Saint
Laurent which have shaped the social dynamics of contemporary society.
A state-recognized foundation since 2002, the Fondation conserves and
celebrates the work of Yves Saint Laurent. As part of its eclectic and
dynamic program, the Fondation hosts two exhibitions each year. It also
supports many cultural and pedagogical activities.
22
Press kit
Typorama
Philippe Apeloig
Sponsors
The exhibition was supported by:
Achim Moeller – Moeller Fine Art, New York-Berlin,
Connery Pissarro Seydoux,
The French Institute Alliance Française (FIAF), New York,
The Fondation d’entreprise Hermès,
The Fondation Pierre Bergé-Yves Saint Laurent,
Voies Navigables de France (VNF).
The exhibition was made possible with the support of:
Fedrigoni,
Nord Sud Matériaux,
the printers Stipa,
the Théâtre du Châtelet,
and the Théâtre national de Toulouse Midi-Pyrénées.
The publication received support from:
Voies navigables de France (VNF),
The Barki Agency and Lessebo Bruk.
23
Press kit
Typorama
Philippe Apeloig
Curators
The Arts Décoratifs
Amélie Gastaut,
Curator of the Advertising Department
Bruno Roger,
President
Yannick James,
for the Studio Philippe Apeloig
Marie-Liesse Baudrez,
General director
Website
Olivier Gabet,
Museums director
www.facebook.com/lesartsdecoratifs
www.twitter.com/artsdecoratifs
Pascale de Sèze,
Communication director
Musée des Arts décoratifs
107, rue de Rivoli 75001 Paris
Phone: +33 01 44 55 57 50
Métro: Palais-Royal,
Pyramides, Tuileries
Open Tuesday to Sunday
11 am to 6 pm
(Late opening Thursday
until 9 pm: Temporary
exhibitions and jewellery
gallery only)
Full rate: 9,50 €
Reduced rate: 8 €
Musée Nissim de Camondo
63, rue de Monceau
75008 Paris
Phone: +33 01 53 89 06 40
10 am to 5.30 pm
Closed Monday
and Tuesday
Full rate: 7,50 €
Reduced rate: 5,50 €
Ateliers du Carrousel
Educational and cultural
services
Tours for adults,
groups and individuals
Phone: +33 01 44 55 59 26
Workshop-tours and
guided tours related
to an exhibition for 4
to 8 year-olds
Phone: +33 01 44 55 59 25
Lectures and panel
discussions
Phone: +33 01 44 55 59 75
Partners’ club
brings together firms
wishing to participate
in promoting Les Arts
Décoratifs, developing
a lasting relationship
with our institution and
broadening their network
of contacts.
Members – at three
different levels – benefit
from the advantages of
patrons and sponsors.
Phone: +33 01 44 55 58 07
Les Amis des Arts Décoratifs
promote the Arts
Décoratifs museums and
library in France and
abroad. Their support
contributes to the enrichment and restoration of
the museum’s collections.
Members have free
admission to the Arts
Décoratifs museums and
can participate in private
visits, thematic days and
cultural tours.
Phone: +33 01 44 55 59 78
Boutique 107Rivoli
Phone: +33 01 42 60 64 94
Open 10 am to 7 pm
Closed Monday
Le Saut du Loup
Restaurant, bar, terrace
or access via the
Carrousel Gardens
Phone: +33 01 56 88 50 60
The Arts Décoratifs Library
107, rue de Rivoli
75001 Paris
Phone: +33 01 44 55 59 36
Open Tuesday to Saturday
10am to 6pm
École Camondo
266, Boulevard Raspail 75014 Paris
Phone: +33 01 43 35 44 28
266, Boulevard Raspail 75014 Paris
63, rue de Monceau 75008 Paris
Phone: +33 01 44 55 59 02
24

Press kit - Les Arts Décoratifs

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