A.P.C. BAMBAM 11
Design of the invitation and the photobooth for the A.P.C. BAMBAM 11. Art direction, visual identity and video by Alice Trescarte and Pierre Consorti at Ohlman Consorti.
Les Playlists Urbaines
This project of CD design is made for the sound experiences of Roman Girardeau. In his practice, the artist reflated urban noises and crowds with the help of sound effect made by mechanical sport objects. It has been produced on a limited edition of 30 CDs.
Mariza Aditore Antiquaria
Mariza Aditore is an antiquarian and a self-taught silk-screen printer. She has a small shop stand in her hometown market where, every Monday, she sells her antiquary objects. We took this opportunity to create a visual identity and experiment screen-printing on different objects and elements. The printing production is all made by Mariza herself in her own in-house workshop. This workflow gives us a lot of time for experimentation and discussion. We work remotely. Usually, I share 3D prototypes and mockups of the final expected result, she tests it and gives feedback about the outcome afterwards.
We started by printing useful objects for her shop stand, now we’re digging with goodies and more useless objects just for the purpose of trying things. More objects to print, more images to come. [Original scans, images and photos: Mariza Aditore; 3D simulations by me]
Visual identity proposal during the public poster competition for the future independent arthouse Cinema Garage, located in Chambéry in eastern France.
Kino Kino Kino Cinéclub
Kino Kino Kino a film club, which takes place in Clermont-Ferrand, focused on the scandinavian cinema. Since 2017, it is continued by the artist Roman Girardeau in his own workshop in the suburbs of the city.
The graphic system is based on a precise iconography extracted from nordic archives. The purpose of these images is to gather graphic documentations relevant to the theme and the period of the films.
This book is intended for those who seek information of the wonderful relationship between Antarctica and humanity. As a child and still, I have always been fascinated by frozen landscapes, inhospitable lands and extreme geography.
Focusing on the expedition of sailor Robert Falcon Scott, I gathered incredible materials to publish. This book presents a selection of articles exclusively written by the professor and specialist Paul Ward on his web platform Cool Antarctica.
When researching images of this era, I stumbled upon the historical approach that was unfamiliar to me. Among all the detailed information, I found an image bank full of unknown pictures from the expeditions: it was the complete collection of films of British photographer, Herbert Ponting distributed by the Scott-Polar Institute.
Alt du är tillhör mig
Norwegian artist Siri Vensen dedicates her practice to performative arts and theatre. She planned a presentation of her theatre project Alt du är at the HDK Högskolan in Göteborg.
Rekonstruktion der Zukunft
It was nothing less than the first step of a journey into a new dimension: when theatre reformer Adolphe Appia, father of Eurhythmics Émile Jaques-Dalcroze, architect Heinrich Tessenow, and artist Alexander von Salzmann met in Hellerau in 1911, their design for the Great Hall at the Festival Theatre created the ideal space for theatre in the twenty-first century. The stage built by Appia using flexible elements and von Salzmann’s shadowless room of lights made it possible to explore completely new modes of expression and staging. Le Corbusier, van de Velde, and Mies van der Rohe all drew inspiration from this.
For Reconstructing the Future, the Appia stage with its original lighting design was rebuilt in the Festival Theatre for the first time, more than a hundred years after its conception. The project curated by Héctor Solari and the accompanying publication make the historical concept accessible to a contemporary audience and locate the Hellerau stage within the history of modernist theatre. Text from Spector Books.
Ornament and graphic design
In the idea to challenge my attraction for moderate, minimal and straightforward design, I questioned the place of ornament in the field of graphic communication, investigating my personal subjective aversion towards the decorative.
Starting from my definition of functional ornament and accessory ornament, I decided to focus my reasoning on the main role and justifications of decorative. Eventually, I admitted that ornament could be a creative tool. In order to accept the new re-emergence of ornament, I tried to justify this idea throughout my analysis. Besides these thinkings, I questioned the arrival of computation as insidious agent, a tool enabling ornaments more easily.