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.
_________________________________________
Education
École Nationale Supérieure des Beaux-Arts de Lyon
Lyon | FR | 2017 · 2019
Diplôme National d’Art (Bachelor degree)
Graphic Design course.
Obtained in 2020 with mention.École Nationale Supérieure des Arts Décoratifs
Paris | FR | 2016 · 2017
Multidisciplinary first year.École Supérieure d’Arts Appliqués de Bourgogne
Nevers | FR | 2014 · 2016
Brevet de Technicien Supérieur
Graphic Design course.Exhibitions & Events
Ravisius Textor
Nevers | FR | 2024
• Book lauch of
Une Conversation autour du livre
de la neige* on March 3, 2024.
avec Valentin GarciaCentre 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), ByeByeBinary, OO collective,
Léa Beaubois, Gérémy 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 GarciaCampus 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 RouanetArticles & 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 | 2020A Bag of BReads
Article | 2020
Revue Approche n°4 Co-pain.
Published by Tombolo Presses.Juries
Le Septantecinq — École Supérieure des Arts de l’Image
Brussels | BE | 2022
• Lecture for the first year Bachelor students
in Graphic Design.Campus Fonderie de l’Image
Bagnolet | FR | 2022
• Jury for the Master’s degree in Graphic Design.
Le Septantecinq — École Supérieure des Arts de l’Image
Brussels | BE | 2022
• Jury for the Bachelor’s degree in Graphic Design.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 RouanetLa 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.
Pain surprise
avec Camille Amouroux, Micha Morasse et Alice Laurichesse | 2024
coming soon
Nappe (9000 × 700 mm) composée en Adelphe
Floréal dessinée par Eugénie Bidaut et
en Buffet Script dessinée par Alejandro Paul.
– avec les illustrations d’Aurélio Gonzalez.
Imprimée sur les machines de Greenfabric.
Nappe (9000 × 700 mm) composée en Adelphe
Floréal dessinée par Eugénie Bidaut et
en Buffet Script dessinée par Alejandro Paul.
– avec les illustrations d’Aurélio Gonzalez.
Imprimée sur les machines de Greenfabric.
Nappe (9000 × 700 mm) composée en Adelphe
Floréal dessinée par Eugénie Bidaut et
en Buffet Script dessinée par Alejandro Paul.
– avec les illustrations d’Aurélio Gonzalez.
Imprimée sur les machines de Greenfabric.
Nappe (9000 × 700 mm) composée en Adelphe
Floréal dessinée par Eugénie Bidaut et
en Buffet Script dessinée par Alejandro Paul.
– avec les illustrations d’Aurélio Gonzalez.
Imprimée sur les machines de Greenfabric.
avant la couture
Nappe (9000 × 700 mm) composée en Adelphe
Floréal dessinée par Eugénie Bidaut et
en Buffet Script dessinée par Alejandro Paul.
– avec les illustrations d’Aurélio Gonzalez.
Imprimée sur les machines de Greenfabric.
une pensée pour toutes celles avec qui j'ai travaillé
Battements de cœur
avec Micha Morasse, Éloïse Bissell et Alice Laurichesse | 2023-2024
coming soon
Couverture et Marque-Page du Livre du Théâtre de la Vie.
– Composés en Adelphe Floréal dessinée par Eugénie Bidaut.
Imprimée sur les machines de Greenfabric.
Couverture du Livre du Théâtre de la Vie.
– Composés en Adelphe Floréal dessinée par Eugénie Bidaut.
Imprimée sur les machines de Greenfabric.
Détail de la couverture du Livre du Théâtre de la Vie.
Pages 3-4-39-40 du Livre du Théâtre de la Vie.
– Composée en Adelphe Floréal dessinée par Eugénie Bidaut
et en Zita dessinée par le collectif OO.
Imprimée sur les machines de Greenfabric.
Pages 17-18-25-26 du Livre du Théâtre de la Vie.
– Composée en Adelphe Floréal dessinée par Eugénie Bidaut.
Imprimée sur les machines de Greenfabric.
Pages 9-10-33-34 du Livre du Théâtre de la Vie.
– Composée en Adelphe Floréal dessinée par Eugénie Bidaut.
Imprimée sur les machines de Greenfabric.
Pages 7-8-35-36 du Livre du Théâtre de la Vie.
– Composée en Adelphe Floréal dessinée par Eugénie Bidaut.
Imprimée sur les machines de Greenfabric.
Le·a Bonimenteur·se du théâtre en pleine préface du spectacle
« Dans les bras nus de la vie » portant les Pages 7-8-35-36
du Livre du Théâtre de la Vie.
– Composée en Adelphe Floréal dessinée par Eugénie Bidaut.
Imprimée sur les machines de Greenfabric.
Le·a Bonimenteur·se du théâtre en pleine préface du spectacle
« Elle est super ta sœur » portant les Pages 13-14-29-30
du Livre du Théâtre de la Vie.
– Composée en Adelphe Floréal dessinée par Eugénie Bidaut.
Imprimée sur les machines de Greenfabric.
Le·a Bonimenteur·se du théâtre en pleine préface du spectacle
« Elle est super ta sœur » portant les Pages 13-14-29-30
du Livre du Théâtre de la Vie.
– Composée en Adelphe Floréal dessinée par Eugénie Bidaut.
Imprimée sur les machines de Greenfabric.
Le·a Bonimenteur·se du théâtre en pleine préface du spectacle
« Dans les bras nus de la vie » portant les Pages 7-8-35-36
du Livre du Théâtre de la Vie.
– Composée en Adelphe Floréal dessinée par Eugénie Bidaut.
Imprimée sur les machines de Greenfabric.
Le·a Bonimenteur·se du théâtre en pleine préface du spectacle
« L'Œil du Cerf » portant les Pages 11-12-31-32
du Livre du Théâtre de la Vie.
– Composée en Adelphe Floréal dessinée par Eugénie Bidaut.
Imprimée sur les machines de Greenfabric.
Une Conversation autour du livre de la neige*
avec Valentin Garcia | 2024
coming soon
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 la mise en espace d'Une Conversation autour
du livre de la neige* à Ravisius Textor le 3 février 2024.
Prise de vue par Maxime Félix ©.
Vue de la mise en espace d'Une Conversation autour
du livre de la neige* à Ravisius Textor le 3 février 2024.
Prise de vue par Maxime Félix ©.
Vue de la mise en espace d'Une Conversation autour
du livre de la neige* à Ravisius Textor le 3 février 2024.
Prise de vue par Maxime Félix ©.
Vue de la mise en espace d'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).
avant la couture
Une Conversation autour du livre de la neige*
géant (25000 × 220 mm) composé en Mercure
dessinée par Charles Mazé (Abyme).
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
coming soon
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:
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.
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.
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.
Never Force the Back
2022
Never Force the Back is a program of workshops
and two evenings which took place at Le Lac
in Brussels (BE).From March to July 2022, I invited Tessa Hall,
Gary Farelly (Office for Joint Administrative
Intelligence), ByeByeBinary, OO collective,
Léa Beaubois, Gérémy Lelièvre
and Marjolein Guldentops to question
the embodiment of a text a medium of creation.
Visual identity made with Marion Moulin
and Jade Rouanet.
Project supported and financed
by the city of Brussels.Thanks to the artists and the participants.
Special thanks to No Matter Nomads, Dear Deer,
Jazmyn, Stuffed Foxes and Olive & Pomme
to have wonderfully played during
the restitution evenings.
Thanks to all who helped in any way
to make this project happen.
Communication made using Cloud drawn by Louis Brousseau
and Tiny drawn Jack Halten Fahnestock (Velvetyne).
View of Tessa Hall's workshop.
View of Tessa Hall's workshop.
View of ByeByeBinary's workshop.
View of Gérémy Lelièvre's workshop
View of Office for Joint Administrative Intelligence's workshop
View of Léa Beaubois' workshop.
View of Marjolein Guldentops' workshop.
View of Marjolein Guldentops' workshop.
Communication made using Cloud drawn by Louis Brousseau
and Tiny drawn Jack Halten Fahnestock (Velvetyne).
View of the first restitution night — Reading of an extract
from the novel Harnachement written Léa Beaubois.
View of the first restitution night — Live of No Matter Nomads
View of the first restitution night — 16mm film screening
of Les chutes du Tripode made by Gérémy Lelièvre
(sound by Suliane Hamon).
View of the first restitution night — Performance Patriarch Poetry
by Tessa Hall.
View of the first restitution night — Live of Dear Deer.
Communication made using Cloud drawn by Louis Brousseau
and Tiny drawn Jack Halten Fahnestock (Velvetyne).
View of the second restitution night — Performance Spoken words
by Gary Farelly (Office for Joint Administrative Intelligence).
View of the second restitution night — Performance Spoken words
by Gary Farelly (Office for Joint Administrative Intelligence).
View of the second restitution night —Live of Jazmyn.
View of the first restitution night — Reading of an extract
from the novel Harnachement written Léa Beaubois.
View of the second restitution night — Performance Sound poetic
performance (extracts from the walking stories and poems series)
by Marjolein Guldentops.
View of the second restitution night — Activation
of The Lost glove book and reading of the text
Chère Maia, as-tu des nouvelles de Tommy Rot ?
View of the second restitution night — Live of Stuffed Foxes.
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.
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.
Thanks to Derek Byrne.
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.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.
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.
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.
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.
Une Paire de pantoufles
with Laurent Granier | 2019
Conversation and four-handed drawing
with the heraldic painter Laurent Granier.
Four hands,
four meetings,
four flags.On each of them, the transcription of the words
exchanged during the afternoon as a motto.
Specimen of the typeface Le Granier
drawn for the occasion.
Psappha
2018
Publication for Roxanne Maillet's exhibition Psappha
at Ambiance Office at Brussels (Be) and activation
of it for the opening on June 21, 2018.
Object (210 × 297 mm) made using Buffet Script
and Protocol designed by Ellmer Stefan
(The Pyte Foundry). Cut paper tongue made
of Fimo clay.
Object (210 × 297 mm) made using Buffet Script
and Protocol designed by Ellmer Stefan
(The Pyte Foundry). Cut paper tongue made
of Fimo clay.
Object (210 × 297 mm) made using Buffet Script
and Protocol designed by Ellmer Stefan
(The Pyte Foundry). Cut paper tongue made
of Fimo clay.
View of Natalie Barney's lovers' letters
in the space during the exhibition Psappha
by Roxanne Maillet at Ambiance Office.
Object (157 × 297 mm) made using Buffet Script and en Harrington.
Object (157 × 297 mm) made using Buffet Script and en Harrington.
Object (157 × 297 mm) made using Buffet Script and en Harrington.
