bureau Zenner Issard
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Héritage inespéré. Objets cachés au cœur
des synagogues,
design of the catalog of the eponymous exhibition at the Palais Rohan museum in Strasbourg, from the 15th of October to the 24th of February 2017. Publisher: Éditions des Musées de la Ville de Strasbourg, 208 pages, 210 x 280 mm, distribution Volumen

This catalogue shines a light on the exceptional discovery of a genizah (a ritual temporary storage of documents carying the name of god) under the floor of the attic of the synagogue of Dambach-la-ville. It is the first publication in French on this topic, and therefore goes beyond the simple scope of the exhibition to become a scientific book of reference.
    The layout has been designed to meet the different issues of the subject. the cover, in the shape of a box, invites the reader to manipulate the object and develop a physical relation to it. The interior layout confronts different stories and period of time while navigating between the scientific rigor of archiving and the sensitivities and emotions triggered by the emotional potential of the objects exhibited.
 
bureau Zenner Issard, 2018
Héritage inespéré. Objets cachés au cœur
des synagogues,
design of the catalog of the eponymous exhibition at the Palais rohan museum in Strasbourg, from the 15th of October to the 24th of February 2017. Publisher: Éditions des Musées de la Ville de Strasbourg, 208 pages, 210 x 280 mm, distribution Volumen

This catalogue shines a light on the exceptional discovery of a genizah (a ritual temporary storage of documents carying the name of god) under the floor of the attic of the synagogue of Dambach-la-ville. It is the first publication in French on this topic, and therefore goes beyond the simple scope of the exhibition to become a scientific book of reference.
    The layout has been designed to meet the different issues of the subject. the cover, in the shape of a box, invites the reader to manipulate the object and develop a physical relation to it. The interior layout confronts different stories and period of time while navigating between the scientific rigor of archiving and the sensitivities and emotions triggered by the emotional potential of the objects exhibited.
 
bureau Zenner Issard, 2018
LOTUS, Max Pinckers & Quinten De Bruyn, 110 pages, 195×270 mm, offset, 2016, Lyre press

In the series Lotus, Max Pinckers and Quinten De Bruyn document the world of transsexuals in Thailand. The gender crisis that the so-called ladyboys face is transformed into a visual metaphor about the identity crisis that contemporary documentary photography currently encounters, when it dares to reflect upon itself critically, and confront its paradoxes.
    The documentary photographer that captures reality as ‘a fly on the wall’ can’t deny his or her directive and manipulative role any longer. The anonymity, the seeming absence, is merely a pose. The tableaux that the photographer captures are not lies, but enfold themselves within the studio that he or she creates from reality. (lyrepress.com)
    The layout and design enbodies the work of "mise en scène" and manipulation by impersonating the reader's desire to percieve and judge it. Between intimacy and clarity, the book is here both the decor, the actor and stage.
 
bureau Zenner Issard, 2018
LOTUS, Max Pinckers & Quinten De Bruyn, 110 pages, 195×270 mm, offset, 2016, Lyre press

In the series Lotus, Max Pinckers and Quinten De Bruyn document the world of transsexuals in Thailand. The gender crisis that the so-called ladyboys face is transformed into a visual metaphor about the identity crisis that contemporary documentary photography currently encounters, when it dares to reflect upon itself critically, and confront its paradoxes.
    The documentary photographer that captures reality as ‘a fly on the wall’ can’t deny his or her directive and manipulative role any longer. The anonymity, the seeming absence, is merely a pose. The tableaux that the photographer captures are not lies, but enfold themselves within the studio that he or she creates from reality.
lyrepress.com    The layout and design enbodies the work of "mise en scène" and manipulation by impersonating the reader's desire to percieve and judge it. Between intimacy and clarity, the book is here both the decor, the actor and stage.
 
bureau Zenner Issard, 2018
L’objet de l’exposition: l’architecture exposée, book design for the Fine Art School (ENSA) of Bourges and François Rabelais University of Tours, 168 pages, 165 x 220 mm, offset monochrome printing, diffusion R-DIFFUSION

L’objet de l’exposition : l’architecture exposée
(The exhibition’s subject: exposed architecture), follows a joint program of meetings and symposiums conducted by ENSA Bourges and
the art history department of the François Rabelais University (Tours) between 2012 and 2014.
    By bringing together contributions from researchers, architects and curators, this book sheds a light on a territory that extends from the museum to the city, through installation, photography and film. It explores the various problematics that characterize this widely unrecognized field.
    The layout of this book questions this new architectural spacethrough its movements around the spine of the paging and invites the reader to move between the different texts.
 
bureau Zenner Issard, 2015
L’objet de l’exposition: l’architecture exposée, book design for the Fine Art School (ENSA) of Bourges and François Rabelais University of Tours, 168 pages, 165 x 220 mm, offset monochrome printing, diffusion R-DIFFUSION

L’objet de l’exposition : l’architecture exposée
(The exhibition's subject: exposed architecture), follows a joint program of meetings and symposiums conducted by ENSA Bourges and
the art history department of the François Rabelais University (Tours) between 2012 and 2014.
    By bringing together contributions from researchers, architects and curators, this book sheds a light on a territory that extends from the museum to the city, through installation, photography and film. It explores the various problematics that characterize this widely unrecognized field.
    The layout of this book questions this new architectural spacethrough its movements around the spine of the paging and invites the reader to move between the different texts.
 
bureau Zenner Issard, 2015
L’objet de l’exposition: l’architecture exposée, book design for the Fine Art School (ENSA) of Bourges and François Rabelais University of Tours, 168 pages, 165 x 220 mm, offset monochrome printing, diffusion R-DIFFUSION

L’objet de l’exposition : l’architecture exposée
(The exhibition's subject: exposed architecture), follows a joint program of meetings and symposiums conducted by ENSA Bourges and
the art history department of the François Rabelais University (Tours) between 2012 and 2014.
    By bringing together contributions from researchers, architects and curators, this book sheds a light on a territory that extends from the museum to the city, through installation, photography and film. It explores the various problematics that characterize this widely unrecognized field.
    The layout of this book questions this new architectural spacethrough its movements around the spine of the paging and invites the reader to move between the different texts.
 
bureau Zenner Issard, 2015
Zones sensibles: la peinture renversée, graphic design of the communication of the exhibition at the "Musée de l'Abbaye Sainte-Croix" (les Sables d'Olonne, France): publication, 120 pages, 21×23 cm, four-colors et Pantone 877C offset printing, Ott Imprimeurs Wasselonne, 2014

The exhibition Zones Sensibles : la peinture renversée, gathers paintings from Centre national des arts plastiques and Musée de l'Abbaye Sainte-Croix in order to cast a new light on painting art since the middle of the XXth century.
    The graphic design of the different mediums of communications is centered on the pictorial qualities of the featured artists but also maintains a part of mystery and singularity towards the motley aspect of the practice of the painting. The publication, by its seven changes of papers and light atmospheres, takes the reader to the museum rooms and invites him to discover successively the paintings and the artists. The cover, as primary pictural matter, is focused on the singularity of the painter's gestures through close-ups and details.
 
bureau Zenner Issard, 2015
Zones sensibles: la peinture renversée, graphic design of the communication of the exhibition at the "Musée de l'Abbaye Sainte-Croix" (les Sables d'Olonne, France): publication, 120 pages, 21×23 cm, four-colors et Pantone 877C offset printing, Ott Imprimeurs Wasselonne, 2014

The exhibition Zones Sensibles : la peinture renversée, gathers paintings from Centre national des arts plastiques and Musée de l'Abbaye Sainte-Croix in order to cast a new light on painting art since the middle of the XXth century.
    The graphic design of the different mediums of communications is centered on the pictorial qualities of the featured artists but also maintains a part of mystery and singularity towards the motley aspect of the practice of the painting. The publication, by its seven changes of papers and light atmospheres, takes the reader to the museum rooms and invites him to discover successively the paintings and the artists. The cover, as primary pictural matter, is focused on the singularity of the painter's gestures through close-ups and details.
 
bureau Zenner Issard, 2015
Zones sensibles: la peinture renversée, graphic design of the communication of the exhibition at the "Musée de l'Abbaye Sainte-Croix" (les Sables d'Olonne, France): invitation flyer, 14,8×21 cm, pantone 877C offset printing, Ott Imprimeurs, and posters, 60×40cm and 120×176 cm, two-color screen printing, Lézard Graphique (Brumath, France)

The exhibition Zones Sensibles : la peinture renversée, gathers paintings from Centre national des arts plastiques and Musée de l'Abbaye Sainte-Croix in order to cast a new light on painting art since the middle of the XXth century.
    The invitation and the posters take their roots in the graphic design of the publication. It suggests a curveball of painting by reducing its representation to its plasticity. Their respective printing process, as pictorial mediums, also gives an insight on the translation of this plasticity.
 
bureau Zenner Issard, 2015
It’s why you can’t get the toothpaste back in the tube, flyer (148×210 mm), posters (297×420 mm) and sound pieces, client: Frac Alsace and HEAR, offset and digital printing, 2013

Various pieces produced for the Exhibition It’s why you can't get the toothpaste back in the tube. The visuals were created using a raw translation process that used visuals of each art pieces from the exhibition and transformed it into sound.
    The resulted sound pieces were then re-translated into a visual piece to create the posters and the flyer.

The sound pieces can be listened to there:
Detailled page
Soundcloud
 
bureau Zenner Issard, 2015
Tombolo, online journal, website, 2012
With Ambroise Maupate.

Tombolo is a new online journal, which aims at creating links between the different archipelagos of knowledge on a little more than just graphic design, in a genuine critical form molded by its various contributors.
    Tombolo is geologically structured by strata. 'Flux' is the surface layer and consists of short articles and reviews. A bit deeper lies 'Meta', which is the stratum of cunning texts, essays and research material. Then comes 'Entrevue' that will present a series of conversations with different personalities from the expanded field of graphic design. Finally, we reach the deeper stratum, 'Beauregard', where discourse finds its fuel in a substratum of selected images and film clips…

You can follow the activity of the website there:
http://www.t-o-m-b-o-l-o.eu/
 
bureau Zenner Issard, 2015
Le Mépris, Movie and book (booklet and book of 6 and 120 photographic images), 210×297 mm, digital printing, 2010

Le Mépris is a digitization experiment that reenacts the famous movie by Jean Luc Godard. It captures the entire movie and translate it into still images from moving sequences.
    Despite beeing a form of archive, it also gives a second life to the original matter and corrupts it to finally become a mirror of the movie, a creature of Frankenstein: A dead body, reproduced and reconstructed, that moves and talks.

You can find more content there:
Video documentation
 
bureau Zenner Issard, 2015
Architecture department catalogue Artez Institute of the Arts, published and distributed by ArtEZ hogeschool voor de kunsten (The Netherland), 13×8 pages, 170×240 mm, offset printing, 2012

Publication for the Architecture department of the ArtEZ Institute of the Arts. wo version of this book have been produced:
    One is composed of 12 sections representing the 13 post-graduates in architecture, every students get their section and can use it for his own portfolio..
    The second version is bound together (swiss bound) and can be stored at the academy as an archive. This work is about the representation and archiving of a multiplicity contained inside a unicity.
 
bureau Zenner Issard, 2015
Architecture department catalogue Artez Institute of the Arts, published and distributed by ArtEZ hogeschool voor de kunsten (The Netherland), 13×8 pages, 170×240 mm, offset printing, 2012

Publication for the Architecture department of the ArtEZ Institute of the Arts. wo version of this book have been produced:
    One is composed of 12 sections representing the 13 post-graduates in architecture, every students get their section and can use it for his own portfolio..
    The second version is bound together (swiss bound) and can be stored at the academy as an archive. This work is about the representation and archiving of a multiplicity contained inside a unicity.
 
bureau Zenner Issard, 2015
Artist as user: A Research, for and with artist Eelco Wagenaar, published by the Dutch Art Institute distributed by Werkplaats Typografie, 210×150 mm, offset ptinting, 2011

Publication with the Dutch Artist Eelco Wagenaar. The publication is composed of 3 foldable posters composing a "model" that tends toward the artist's independency and self financing via a parralel with the practice of engineering.
    Three essays are featured in the publication: Thesis on Usership by Stephen Wright, Artist as System Engineer by Eelco Wagenaar and The brave new World of Work by Willem van Weelden
 
bureau Zenner Issard, 2015
Galerie Arko, visual identity. Project made with François Havegeer. Exhibition booklets (A5) and invitations (A5), 2009-2012

The identity of Arko's gallery is devoted to evolve independently while taking the direct mediation of the curator and takes the small budget of the gallery into account. The main stake of this project is to show the specific work of research made by the curator for each exhibition. Those preliminary documentary research steps are featured in all the identity mediums.
    The identity is composed of three typical forms that can be found in the gallery and are articulating to the content of the exhibition in a A3 format. This format is the base on which the curator will build all the mediums used for the communication.
 
bureau Zenner Issard, 2015
DÉC. 2008 - MAI 2009, publication of 204 pages, research project,166×240 mm, 2009

This fictitious book is intended to promote the National Theater of Toulouse by the display of one year of plays played and staged in this theater.
    The stake here was to evaluate the theatrical qualities of books and confront its expressive and sensual qualities (type setting, layout, papers, etc.) to the specificities of theater staging, scenery and actors directing.
 
bureau Zenner Issard, 2015
Stellatopia, 70 pages publication by Emmanuelle Lainé ordered by Parc Saint Léger, Pougues-les-Eaux (58), 200×297 mm, 2012

The publication Stellatopia follows the eponymous exhibition of the artist Emmanuelle Lainé with the partnership between Parc Saint Léger (contemporary art center) and Pierre Lôo mental health center.
    The publication shows a set of pictures taken by the patients during Emmanuelle Lainé's residency and also features two reflexives texts on Stellatopia project.
 
bureau Zenner Issard, 2015
From the bottom of the chin to the top of the head, 64 pages publication for and with artist Patricia Sousa, published by the Dutch Art Institute et distributed by the Werkplaats Typografie, 210×147 mm, digital printing, 2011

This booklet is a space of expression of the norm of the passport pictures and regulations. The grid is the norm and the type evolves through the book in order to fill in the space of the spread, as the face should fill in the space of the photography.
     The 300 copies, like the passports, present a common state, personalized by the hand glued colored pictures.
 
bureau Zenner Issard, 2015
Blow Up: enquête sur la fiction du livre et la réalité du film, research publication of 292 pages, 200×270 mm, 2011

This book is the result of a year of graphic and theoretical experimentations dedicated to the unraveling of the links between book staging and laying out in cinema. Blow Up, the famous movie of Michelangelo Antonioni, offered an ideal setting for this kind of research.
    The main character, a typical photographer of the Swinging London times, works during all the movie on the making of a book of photographs. He even has a meeting with his editor and shows him a starting set of photographs that he made a few hours ago. During the discussion, he even tackles the question of captions and something strong for the end. With this scene, a parallel is created between book and cinema. What would be the consequences if this fictitious book would be materialized in reality?
 
bureau Zenner Issard, 2015
Blow Up: enquête sur la fiction du livre et la réalité du film, research publication of 292 pages, 200×270 mm, 2011

This book is the result of a year of graphic and theoretical experimentations dedicated to the unraveling of the links between book staging and laying out in cinema. Blow Up, the famous movie of Michelangelo Antonioni, offered an ideal setting for this kind of research.
    The main character, a typical photographer of the Swinging London times, works during all the movie on the making of a book of photographs. He even has a meeting with his editor and shows him a starting set of photographs that he made a few hours ago. During the discussion, he even tackles the question of captions and something strong for the end. With this scene, a parallel is created between book and cinema. What would be the consequences if this fictitious book would be materialized in reality?
 
bureau Zenner Issard, 2015
Mise en scène, mise en page: Interactions entre graphisme et cinéma,Master thesis of 124 pages, 148×210  mmm

This thesis is the theoretical outcome of an investigation concerning the meeting areas of graphic design and cinema; from graphic forms of cinema to cinematographic forms of books.
    Quoted filmmakers, artists and graphic designers include: Jean-Luc Godard, Jacques Demy, William Klein, Alfred Hictchcock, John Baldessari, René Ferracci, Hans Hillmann, Pierre Faucheux, Jacques Daniel and Rosa Barba.
 
bureau Zenner Issard, 2015
LOTUS, self publication of Max Pinckers and Quinten De Bruyn, 110 pages, 195×270 mm, digital printing, 2011

On appearance, this book presents a serie of pictures documenting the world of transexuals in Thailand. But more than a simple social portrait, it is a view on documentary photography and on manipulation of image.
    The book also features disposable camera pictures taken by the models. The yellow expandable flaps contain in the inside what can be described as intimatewhile the front of these flaps shows the different texts from contributors. Between intimate and public, reality and fiction, this book is nevertheless about telling stories. It was presented for the first time during the exhibition "RE:Tilt" at the Flamish cultural center "De Brakke Grond" in Amsterdam in May 2011. 2011.
 
bureau Zenner Issard, 2015