• FR
  • Aurane Loury

    aurane.loury@gmail.com 
    Instagram: @auraneloury 

    Graphic Design,
                             and more.

    The experience of the text as much as
    the text itself or,
           how the book influences the reader 
    and how the reader influences the book. 


    the dual figure that is presented to us
                          (Reality/Fiction),
    with this slash, 
             in its middle,
    which separates the two terms,
    can find its unity.
    Why not speak,
    for example,
    of Realfiction
    (in one word, without hyphen).

    René Farabet, Bref éloge du coup de tonnerre 
    et du bruit d'ailes
    , Phonurgia nova, 1994.


    Currenty gesticulating for and at
    Théâtre de la Vie à Bruxelles (BE).

    _________________________________________

    Website developed by Léa Beaubois 
    and made using Mule Regular et Italic
    drawn by Samira Schneuwly.

    French proofreading
    by Marion Moulin & Charlotte Garda.
    English proofreading
    by Sarah Martone & Sarah Bex Rice.

    All rights reserved.
    _________________________________________

    Exhibitions & Events

    Ravisius Textor
    Nevers | FR | 2024
    • Book lauch of 
    Une Conversation autour du livre 
    de la neige* on March 3, 2024.
    avec Valentin Garcia 

    Centre National du Graphisme — Le Signe 
    Chaumont | FR | 2022
    • Co-organisation of the exhibition
    Post-Scriptum: Épisode trois, Chère Maia,
    as-tu des nouvelles de Tommy Rot ?
     

    presented from May 11 to 29, 2022.
    with Valentin Garcia

    Le Lac
    Brussels | BE | 2022
    • Programming, organisation and coordination
    of the workshops program Never Force the Back
    and its two evening events. From March
    to July 2022, it brought together Tessa Hall,
    Gary Farelly (Office for Joint Administrative
    Intelligence
    ), ByeByeBinaryOO collective,
    Léa BeauboisGérémy Lelièvre
    et Marjolein Guldentops invited to collectively
    question the embodiment of a text
    as a creative medium.

    Biennale internationale de design graphique
    Chaumont | FR | 2021
    • Exhibition of the poster Grizzly Man
    for the 29th international competition.
    drawn with Clara Degay.

    Antwerp Poster Festival 
    Antwerp | BE | 2020
    • Exhibition of the poster Grizzly Man.
    drawn with Clara Degay.

    Performances & Readings

    P—ost
    Arnhem | NL | 2023
    • Performance Chère Maia, as-tu des nouvelles
    de Tommy Rot ?
    and activation of the lost gloves book
    on April 7 and April 8, 2023 for the Book Fair
    Not Just a Fair organised by Not Just a Collective.

    Le Lac
    Brussels | BE | 2022
    • Reading of the text Chère Maia, as-tu des nouvelles
    de Tommy Rot ?
    and activation of the lost gloves book
    for the closing night of the workshops program
    Never Force the Back on July 8, 2022.

    Centre National du Graphisme — Le Signe 
    Chaumont | FR | | 2022
    • Reading of the text Chère Maia, as-tu des nouvelles
    de Tommy Rot ?
    and activation of the lost gloves book
    for the opening of the exhibition Post-Scriptum :
    Épisode trois, Chère Maia, as-tu des nouvelles
    de Tommy Rot ?
    on November 13, 2022.

    Au Pain Paillasse
    Clermont-Ferrand| FR | 2019
    • Collective performance A Bag of BReads
    based on A Bag of Beads written by George Brecht
    and Robert Filliou and taken from Games at
    the Cedilla, or the Cedilla Takes Off
    published
    in 1967. Presented on August 24, 2019.

    Workshops

    Le Septantecinq — École Supérieure des Arts de l'Image
    Workshop | 1 week
    Brussels | BE | 2023
    • Slideshow focusing on the exhibition of
    the Graphic Design department’s work for
    the School Open Days on March 24 - 25, 2022
    with the second year students.
    coordinated with Valentin Garcia

    Campus Fonderie de l’Image
    Workshop | 1 week
    Bagnolet | FR | 2022
    • Paroles Gelées focusing on the conversation
    as artworks' mode of existence with
    the first year Master students in Graphic Design.
    coordinated with Valentin Garcia

    École Supérieuredes Arts Appliqués de Bourgogne
    Workshop | 2 weeks
    Nevers | FR | 2022
    • et, tiret focusing on the notice and the manual.
    Organisation of the restitution exhibition and
    its activation at Ravisius Textor  on May 13, 2022
    with the first and second year DN MADe students
    in Graphic Design.
    coordinated with Marion Moulin et Jade Rouanet

    Articles & Prices

    Small Press Big Award 22
    Price | Gent | BE | 2022
    Won for the editorial work Maqui, Maki, Maquey
    during the Zine Happening VII organised by Les VoiZines
    at Kunsthal Gent.
    Texts by Marine Forestier.

    It’s Nice That
    Article | 2020

    A Bag of BReads
    Article | 2020
    Revue Approche n°4 Co-pain.
    Published by Tombolo Presses.

    Residencies

    La fraternelle
    Residency | 6 weeks
    Saint-Claude | FR | 2021
    • Writing, layout and staging of the book
    Une porte sans poignée. Between a play
    and a short story, this book highlights the links
    that bring together the world of page layout
    and the world of stage direction by considering
    and recognising the printer as the main
    actor·ess of the play. It was performed
    by the La fraternelle theatre company
    on November 13, 2021.
    with Marion Moulin and Jade Rouanet

     

    La MaMa Experimental Theatre Club 
    Internship | 6 months
    New York | USA | 2019 · 2020
    • Assitant
    • Personal research on the kinesic transcription
    of How to open a new Book written by the bookbinder
    William Matthews and published in 1835.

    Une Conversation autour du livre de la neige*

    avec Valentin Garcia | 2024

    Une Conversation autour du livre de la neige*
    est un objet éditorial qui prend sa source dans un autre,
    ou plutôt dans un entretien retranscrit dans un livre :
    celui du journaliste culturel belge Pascal Goffaux
    avec le poète tout aussi belge François Jacqmin.
    Figure peinte comme curieuse et discrète,
    on dit de François Jacqmin qu’il occupe une place
    singulière dans le sous-bois de la littérature.
    Proche de Marcel Havrenne et de Théodore Koenig,
    il participa fidèlement au groupe post-surréaliste
    Phantomas à travers sa revue éponyme
    tout en se gardant des effets du genre, plus enclin
    à mettre en doute l’usage du mot qu’à manier l’humour
    des irréguliers du langage. Un objet éditorial donc,
    qui sous la forme d’un long ruban blanc satiné se lisant
    simultanément par les deux bouts devient lui-même
    « objet » d’un dialogue, d’une négociation – de tension,
    de rythme et des blancs – comme unique clé
    de lecture et mode d’existence.

    Lancement à Ravisius Textor le 3 février 2024.

    Un doux merci à Florence Aknin, Thierry Chancogne,
    Rosette et Marie Gateau.
    Un merci à Maxime Félix pour les prises de vue.

    Un doux merci à Éloïse Bissel pour le parachevage.
    Un merci particulier à Manoël Dupont.

    Ruban (5000 × 50 mm) composé en Mercure
    dessinée par Charles Mazé (Abyme).
    Imprimé sur les machines de Greenfabric.

    Ruban (5000 × 50 mm) composé en Mercure
    dessinée par Charles Mazé (Abyme).
    Imprimé sur les machines de Greenfabric.

    Prise de vue par Maxime Félix ©.
    Vue de l'exposition Une Conversation autour
    du livre de la neige* 
    à Ravisius Textor le 3 février 2024.

    Prise de vue par Maxime Félix ©.
    Vue de l'exposition Une Conversation autour
    du livre de la neige* 
    à Ravisius Textor le 3 février 2024.

    Prise de vue par Maxime Félix ©.
    Vue de l'exposition Une Conversation autour
    du livre de la neige* 
    à Ravisius Textor le 3 février 2024.

    Prise de vue par Maxime Félix ©.
    Vue de l'exposition Une Conversation autour
    du livre de la neige* 
    à Ravisius Textor le 3 février 2024.
    Activation d'Une Conversation autour du livre de la neige* 
    géant (25000 × 220 mm) composé en Mercure
    dessinée par Charles Mazé (Abyme).

    Something which is very near in place and time, but not yet known to me

    with Valentin Garcia, l'Agence du doute and Anna George Lopez | 2023

    Discreet navigation between a postal correspondence
    - dated eight September two thousand and twenty-three -
    and a display of living glosses at 17, Quai Conti in Paris (FR)
    for Conversations.

    Something which is very near in place and time,
    but not yet known to me. Robert Barry, 1971

    Thanks to Marius AstrucPaul Bouigue
    Léa DebusschèreMila Landreau
    and Salomé Veilleux.

    Prise de vue par LMMPS ©.

    Prise de vue par Dora Frey ©.

    Prise de vue par Dora Frey ©.

    Prise de vue par LMMPS ©.

    Prise de vue par LMMPS ©.

    Prise de vue par LMMPS ©.

    Prise de vue par LMMPS ©.

    Prise de vue par LMMPS ©.

    Prise de vue par LMMPS ©.

    Post-Scriptum : Épisode trois, Chère Maia, as-tu des nouvelles de Tommy Rot ?

    2022

    In residency at le Centre National du Graphisme —
    Le Signe between 2021 and 2022, Valentin Garcia
    developed Post-Scriptum: , a research project
    that aims to reactivate stories, events and
    productions that participated directly or
    indirectly in the writing of graphic design
    as a place of exercise and mediation of thoughts.

    For the third occurrence, he invited me to co-organize
    an exhibition and to propose an activation of it
    for the opening scheduled on May 15, 2022.

    It is by crossing this invitation with my collection
    of lost gloves that began the sprawling project
    Chère Maia, as-tu des nouvelles de Tommy Rot?
    (Dear Maia, have you heard from Tommy Rot?)
    which revolves around the story of the character
    of R. Hythlodée and her manifestations
    in the environment in our surroundings:

    Poster (1200 × 1760 mm) of the exhibition Post-Scriptum: Épisode trois,
    Chère Maia, as-tu des nouvelles de Tommy Rot ? 
    made using Septima
    drawn by Radim Pesko (RP Digital Type Foundry) and Diane Script
    drawn by Mark Simonson from Roger Excoffon's first version.

    Poster (1200 × 1760 mm) of the exhibition Post-Scriptum: Épisode trois,
    Chère Maia,as-tu des nouvelles de Tommy Rot ?. 
    Three-colour 
    screenprinted at Lézard Graphique.

    Exhibition

    with Valentin Garcia | 2022

    The exhibition Post-Scriptum: Épisode trois,
    Chère Maia, as-tu des nouvelles de Tommy Rot
    ?
    takes Les images avant la lettre (the images before
    the letter) of Jules Alexandre Grün, Adolphe
    Léon Willette, Gaston Noury, Richard Ranft,
    Eugène Grasset and Jules Chéret – from
    Gustave Dutailly’s donation to the city of Chaumont 
    – as its starting point.

    Simply called Avant la lettre (Before the letter) – here,
    a text that indicates, informs and contextualizes
    the image – these visuals, which took place between
    creation and finalization, shows spaces left empty.

    By considering those empty areas as a projection
    screen we created links with the works of
    Lex Drewinski, Christophe Gaudard, Hubert Gregor,
    Christos Lialios, Uwe Loesch, Claude Marsan,
    Bruno Monguzzi, Maureen Mooren, Karl Nawrot,
    Manuel Raeder, Mathias Schweizer,
    Daniel van der Velden and Cornel Windlin.

    The staging of those ghosts from the past – here
    considered free from their first nature – became
    the background of all the interpretations.
    By naming Post-Scriptum: Épisode trois, Chère Maia,
    as-tu des nouvelles de Tommy Rot
    we answered
    our own invitation.


    Thanks to Thibault Richard and Louis Colin
    for their precious help.

    Picture by Adrien Vallée ©.
    View of the exhibition Post-Scriptum: Épisode trois, Chère Maia,
    as-tu des nouvelles de Tommy Rot ? — 
    Reuse of the furnitures
    made by Mathias Schweizer for the exhibition
    Myr Muratet, Zone de confort.

    Picture by Adrien Vallée ©.
    View of the exhibition Post-Scriptum: Épisode trois, Chère Maia,
    as-tu des nouvelles de Tommy Rot ? — 
    Reuse of the furnitures
    made by Mathias Schweizer for the exhibition
    Myr Muratet, Zone de confort.

    Performance

    2022 -

    One night, R. Hythlodée found a red glove
    marked with the initials T.R in a roadside puddle.
    She instantly conferred an irrational value to it
    and began the quest of finding the other one
    and the pair
    s owner. She shares the news with Maia.

    For the opening of the exhibition Post-Scriptum:
    Épisode trois, Chère Maia, as-tu des nouvelles
    de Tommy Rot
    we answered to our own invitation.

    Thus, start the T.R’s quest by R. Hythlodée
    with the use of the exhibited images
    as the landscape of her tale.

    Manuel Raeder’s one – created for Yane Calovski’s
    performance-project Tommy Rot (The Sublime
    Violence  of Truth)
    during the group exhibition
    To Actuality  organized by the late Maia Damianović
    in 2002 in Bolzano – is the epicenter
    of R. Hythlodée’s story.

    For this project, Yane Calovski created different
    stagings in which an actress looked for a fictional
    character – the Hollywood actor of the 1960s
    claiming to be an anarchist from South Tyrol:
    Tommy Rot – in the streets of Bolzano. Both as
    a scriptwriter and producer, Yane Calovski’s work
    mixed reality and staging in order to create
    an ambiguous hybrid that outlines the porous
    nature of these realities. Closely joining his own
    reflections, we decided to pay tribute to his work
    and searching for Tommy Rot ourselves.

    The name R. Hythlodée is a reference to
    the idiomatic expression Tommyrot – that means
    foolishness or nonsense – whose origins go back
    to the book Utopia  written by Thomas More in 1516.
    This last relates the story of Raphaël Hythlodée
    –  the name originates from the combination
    of two Greek words that can be translated
    as the one that can tell stories  – who describes
    the Island of Utopia to Thomas More
    and Pierre Gilles.

    It is by crossing the just mentioned previous
    researches  and my collection of lost gloves
    that began R.H’s story.

    Special thanks to Isidore Milton.
    Thanks to Marion Moulin for the emboidery T.R,
    to Mopsa Marciano for the screenprinting advices
    et Sarah Gissinger for the canvas stitch advices.

    The Lost gloves book — Embroidery T.R by Marion Moulin.
    Screenprinted ribbons.

    Picture by Adrien Vallée ©.
    The Lost gloves book.

    Picture by Adrien Vallée ©.
    View of the activation of The Lost gloves book for the opening
    of the exhibition Post-Scriptum: Épisode trois, Chère Maia,
    as-tu des nouvelles de Tommy Rot ? 

    View of the activation of The Lost gloves book for Not Just a Fair
    organised by Not Just a Collective at P—ost à Arnhem (NL)
    on april, 8 2023.

    Wanderings

    2022 -

    The exhibition’s closing on May 22, 2022 did not mark
    the end of R. Hythlodée's quest for the right glove
    of that left glove she found on 66 East 4th Street
    and its owner T.R.

    R. Hythlodée’s quest in the public space
    and wanderings are experienced as happenings 
    that take place in the contingencies of life
    and become the proper context for a stroll,
    for a moment of sharing.

    Costume made by Éloïse Bissell.


    Special thanks to Dora Frey for the pictures. 

    Picture by Dora Frey.
    R. Hythlodée looking for T.R. in the streets of Paris in winter 2023.
    — costume by Éloise Bissell.

    Picture by Dora Frey.
    R. Hythlodée looking for T.R. in the streets of Paris in winter 2023.
    — costume by Éloise Bissell.

    Picture by Dora Frey.
    R. Hythlodée looking for T.R. in the streets of Paris in winter 2023.
    — costume by Éloise Bissell.

    P.-Post-Scriptum : Épisode trois, Chère Maia, as-tu des nouvelles de Tommy Rot ?

    with Valentin Garcia | 2023 -

    Post-Scriptum : is – by its denomination –
    an invitation to go beyond a first text,
    to comment on it, to deploy it continuously
    in multiple ramifications. P.-Post-Scriptum :
    Épisode trois, Chère Maia, as-tu des nouvelles
    de Tommy Rot ?
    logically extends
    its third occurrence.

    R. Hythlodée’s story  is rooted in the posters
    exhibited in Post-Scriptum : Épisode trois,
    Chère Maia, as-tu des nouvelle de Tommy Rot ?
    .

    The exhibition’s closing on May 22, 2022
    did not mark the end of her quest.

    To do so, we invited a selection of guests to jointly
    constitute the iconographic corpus of her story.
    Each of them received in their mailbox a glove
    from my collection – embroidered with their address 
    – telling them about our (re)quest.


    Thanks to Green Fabric and Éloïse Bissell
    for their precious help.

    Ribbon made using Immortel Vena
    drawn by Clément Le Tulle-Neyret (205TF). 
    Printed in Greenfabric's workshops.

    Ribbon made using Immortel Vena
    drawn by Clément Le Tulle-Neyret (205TF). 
    Printed in Greenfabric's workshops.

    P.-P.-Post-Scriptum : Épisode trois, Chère Maia, as-tu des nouvelles de Tommy Rot ?

    with Valentin Garcia | 2023 -

    Post-Scriptum : is – by its denomination –
    an invitation to go beyond a first text,
    to comment on it, to deploy it continuously
    in multiple ramifications. P.-P.-Post-Scriptum:
    Épisode trois, Chère Maia, as-tu des nouvelles
    de Tommy Rot
    ? logically extends
    its third occurrence.

    Produced in a series of twenty-eight and drawn
    under the name of R. Hythlodée, the poster
    for the exhibition becomes a new link, a new mesh
    of the narrative of our heteronym by considering
    and recognizing the whole trajectory of each
    of its copies.

    In this sense, our mythology values each
    of the purchasers as a new incarnation
    of the character of R. Hytholdée and becomes
    by direct affiliation, one of the author of the poster.
    This transfer takes effect when the purchaser
    signs the promised spaces of his copy
    and the accompanying contract.

    Une Porte sans poignée

    with Marion Moulin and Jade Rouanet | 2021

    Written, designed, printed and staged during
    a six-week residency at La fraternelle
    in Saint-Claude (FR), Une Porte sans poignée
    (A Door without a handle) is the meeting
    of a play and a short story that take place
    in the same space-time.

    The dice slipped in the cover holds an important
    role and the melodic stage directions inscribed
    on it occupy a double function:
    - Played by the reader and/or the actor,
    it determines with which tone to interpret
    each character.
    - Played by the printer, it determines
    with which paper, which mesh and
    which ink to print each chapter.

    In this sense, Une Porte sans poignée
    considers and defends the printer as
    the main actor of the book.

    Thanks to all La fraternelle team
    for their precious help.

    Book (120 × 196 mm) made using Laica A Medium drawn
    by Alessio D’Ellena, Franziska Weitgruber and Igino Marini
    (Dinamo) and Anthony drawn by Sun Young Oh (Velvetyne).
    Three-colours screenprinted at La fraternelle.

    View of the dice launch which defines the book's
    printing parameters — Jade Rouanet and Marion Moulin.

    Book (120 × 196 mm) made using Laica A Medium drawn
    by Alessio D’Ellena, Franziska Weitgruber and Igino Marini
    (Dinamo) and Anthony drawn by Sun Young Oh (Velvetyne).
    Three-colours screenprinted at La fraternelle.

    Book (120 × 196 mm) made using Laica A Medium drawn
    by Alessio D’Ellena, Franziska Weitgruber and Igino Marini
    (Dinamo) and Anthony drawn by Sun Young Oh (Velvetyne).
    Three-colours screenprinted at La fraternelle.

    Book (120 × 196 mm) made using Laica A Medium drawn
    by Alessio D’Ellena, Franziska Weitgruber and Igino Marini
    (Dinamo) and Anthony drawn by Sun Young Oh (Velvetyne).
    Three-colours screenprinted at La fraternelle.

    Book (120 × 196 mm) made using Laica A Medium drawn
    by Alessio D’Ellena, Franziska Weitgruber and Igino Marini
    (Dinamo) and Anthony drawn by Sun Young Oh (Velvetyne).
    Three-colours screenprinted at La fraternelle.

    les services officiels écrivent en tout petit l'information la plus importante

    Written with six hands, the two stories
    are porous but independent. The characters
    of both fictions are not aware of their respective
    presence in the space but a series of events
    punctuate their actions simultaneously.

    Une porte sans poignée was performed by La fraternelle
    theater company on November 13, 2021.

    View of the representation on November 13, 2021 — Pascal, Charles
    and Ildou. 

    View of the representation on November 13, 2021 — Ildou and Charles.

    La Manicule Bonimenteuse

    2019

    La Manicule Bonimenteuse interprets the verbal
    stage directions of the same name play. This latter
    – in which I play all the characters –  is articulated
    around extracts of different authors’ work.

    La Manicule Bonimenteuse indicates
    to the audience who I play and
    modulates the intonations of my voice.

     ‘It seems opportune then than
    in the historia there is someone who
    informs the spectators of the things
    that unfold [...] or invites you with
    his own gestures to laugh together
    or cry in company.’ Alberti’s words,
    written in 1436, couldn’t any more
    perfectly define this ‘hand that speacks’,
    this bonimenteuse hand that, in a game
    of ethymology, shares features
    with admonitor.
    This ‘hand that speacks’ is a hand that
    shows and that refers, within the space
    of the book, to this typographic sign
    called manicula, which is generally
    to be found in the margins of medieval
    manuscripts in the form of a hand that
    has been separated from its body,
    with an excessively long index finger
    logically indicating important passages
    to the reader as well as inviting us
    to confortably observe the key elements
    of a text. However, outside of the text,
    in this space that we could call 
    ‘the extra-book’, the bonimenteuse hand 
    becomes the delegrate of a Grand Imagier
    of the book. [...]
    A bonimenteuse hand that, though its
    manipulations, would allow one to grasp
    various readings, if only because 
    it is a medium element existing between
    the world of the book and that of the reader.

    Catherine Guiral, (In)visible Touch,
    Revue Faire n°4, 2018
    Translation: Derek Byrne

    Object composed using Vivaldi and BabelStone Han.
    Dye-sublimation printed.

    Object composed using Vivaldi and BabelStone Han.
    Dye-sublimation printed.

    View of the play La Manicule Bonimenteuse —
    Assisted by Galaad Gonzales.

    accompagnée de son tambour

    2019

    Drum made with Amaury Berrier.


    Special thanks to Piero Belderbos.

    View of the play La Manicule Bonimenteuse.
    Object (850 × 17000 mm) made using Buffet Script
    and
     BabelStone Han.

    View of the play La Manicule Bonimenteuse.
    Object (850 × 17000 mm) made using Buffet Script
    and
     BabelStone Han — Piero Belderbos.

    The Luminous drum and the Printed Script roll of the play 
    La Manicule Bonimenteuse. The light emitted by the drum
    makes the first letter of each paragraph readable.

    The Printed Roll script (850 × 17000 mm) made using
    Buffet Script and BabelStone Han. The First letter of each paragraph
    are silk-screened. Manual prompter made of wood.

    The Printed Script roll of the play La Manicule Bonimenteuse.
    Manual prompter made of wood — Detailed view
    of the engraved discs.

    A Bag of BReads

    2019

    Copain.
    In the late Middle Ages, a large slice
    of bread – in french, pain – was shared
    as a plate. It's called Com-pain.

    Copain.
    From the Latin Cum panis: To eat bread with.
    Then, companio: The one with whom
    one shares the bread with. Then, compaing:
    the one with whom one shares adventures,
    food – and among other things – bread.
    Finally, companion and, copain.

    Copain.
    Title of issue D of the revue Approche – initiated
    by Ninon Chaboud and Jimmy Cintero and which
    questions writing and its typisation – for which
    I was invited.

    Copain.
    I shared my bread with George Brecht and
    Robert Filliou at La Cédille qui sourit.
    During the reading of the rules of the game
    A Bag of Beads – from the book Game at the Cedilla,
    or the Cedilla Takes Off
     published in 1967 –
    I unconsciously confused the word Beads
    with the word BReads. Bread instead of beads,
    so be it! 


    A Bag of BReads

    500 bReads each with a word
    stamped on it.

    Each player takes a bRead
    at random from the bag
    and adds it to a knotted string.

    When the string is finished 
    (according to a pre-determined limit
    — perhaps 3 bReads per players or
    some much), a sense for the sentence
    so prepared is decided (perhaps by
    all the players, perhaps by a neutral
    referee or neutral referees) and
    the player who has contributed most
    (or least) to the meaning 
    of the sentence gets the pot.


    Copain.
    Before sharing it, I learned how to do it.
    I left the Cédille qui sourit to go to
    au Pain Paillasse to meet Franck Etienney.
    We discussed. The 500 words extracted
    from our conversation have found new
    meaning during A Bag of BReads
    on August 24, 2019 in Clermont-Ferrand.


    Thanks to Au Pain Paillasse and Franck Etienney.
    Thanks to Hélène Humbert, Thierry Humbert
    and Nathalie Battier for their precious help.

    View of the storygame A Bag of BReads on August 24, 2020.
    Communication made using Longfellow Regular.

    View of the bread necklaces made during the storygame
    A Bag of BReads on August 24, 2020 and the stories
    that came out of it.

    View of the bread necklaces made during the storygame
    A Bag of BReads on August 24, 2020 and the stories
    that came out of it.

    View of the bread making process with Franck Etienney.

    View of the bread making process with Franck Etienney.

    Jeu des coulisses à usage des habitué·es du théâtre contenant une foule d’anecdotes et de révélations piquantes sur les acteur·ices, les auteur·ices, les directeur·ices, et en général sur tout le personnel composant le monde dramatique

    2019

     Jeu des coulisses à usage
    des habitué·es du théâtre contenant
    une foule d’anecdotes et de révélations
    piquantes sur les acteur·ices, les auteur·ices,
    les directeur·ices, et en général sur tout
    le personnel composant le monde dramatique

    (Backstage game for use by regulars of
    the theater containing a host of anecdotes
    and revelations about actor·esses, authors,
    directors, and in general about all the personnel
    that make up the dramatic world) is a play
    in four acts for four players.


    You are backstage at a theater.
    You have little time left before you
    go on stage. You have no script.
    It’s time to play.


    Special thanks to Sabine Chaperon, Emma Joly,
    Luca Reverdit and Tiphaine Voix.

    Objects made using Helvetica Neue Condensed Bold.
    Digital printed (recto) and silkscreen printed (verso)
    cards (257 × 360 mm). Silkscreen printed game board.
    Engraved token and made of silicone figures.

    View of a play of the Jeu des coulisses à usage
    des habitué·es du théâtre contenant une foule
    d’anecdotes et de révélations piquantes
    sur les acteur·ices, les auteur·ices, les directeur·ices,
    et en général sur tout le personnel composant
    le monde dramatique 
    — Thiphaine Voix,
    Lucas Reverdit, Sabine Chaperon et Emma Joly.

    View of a play of the Jeu des coulisses à usage
    des habitué·es du théâtre contenant une foule
    d’anecdotes et de révélations piquantes
    sur les acteur·ices, les auteur·ices, les directeur·ices,
    et en général sur tout le personnel composant
    le monde dramatique 
    — Thiphaine Voix,
    Lucas Reverdit, Sabine Chaperon et Emma Joly.

    tout et partout sans tenir compte du temps et de l'espace

    2019

    Object made of glazed ceramic.

    Napperon compensatoire

    2019

    Le Napperon Compensatoire (The Compensatory Mat)
    is an object-quotation of La Cuisine Ornementale,
    extracted from Mythologies written by Roland Barthes
    and published in 1957.

    Oilcloth (1400 × 2000 mm) made using Digestive 
    drawn by Jérémy Landes (Studio Triple).

    Oilcloth (1400 ×  2000 mm) made using Digestive 
    drawn by Jérémy Landes (Studio Triple).

    Oilcloth (1400 ×  2000 mm) made using Digestive 
    drawn by Jérémy Landes (Studio Triple
    — With glazed ceramic pieces.