PRESS RELEASE > les arts décoratifs

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1 PRESS RELEASE > les arts décoratifs 1. Antoine + Manuel, Chrisitan Lacroix, Collection 38 Printemps-été 2006, Carton d invitation au défilé 2006 graphic design recent ACQUISITIONS 30 March - 16 July 2017 CONTACTS PRESSE Marie-Laure Moreau Isabelle MENDOZA TEL. : FAX : presse@lesartsdecoratifs.fr Mécène principal de l exposition

2 The Musée des Arts Décoratifs has one of the most comprehensive and oldest graphic design collections in France. Yet since 2009 and the Antoine + Manuel exhibition, the collection has been primarily enhanced with works donated by the designers themselves. More than seven hundred new items join the collection each year. These recent additions have enabled us to make a selection of three hundred works painting a portrait of graphic universes as widely differing as those of Frédéric Teschner, Pierre di Sciullo, Les Graphiquants, Jocelyn Cottencin, M/M (Paris), devalence, Fanette Mellier, Change is good, Irma Boom, H5 and Yorgo Tloupas. They give an idea of the diversity of the fields in which graphic design plays such a key role and show how experimentation and hybridization are always responses to the constraints imposed by the client. 2. Frédéric Teschner, Midi Festival 2010, affiche M/M (Paris), Savannah Bay, CDDB-Théâtre de Lorient, 4. Roman Cieslewicz, Contre Le Pen de mort, collage 1990 affiche 2002 The exhibition focuses on nine themes illustrating graphic design s different fields of application: The performing arts and particularly the theatre, both forcing graphic designers to reflect on narration, dance and contemporary art with their more conceptual codes, and also music and fashion, self-production, books, typography and visual identity. These typologies show the evolution of a discipline and profession, its clients and mediums. The exhibition begins with a tribute to the late Frédéric Teschner. Teschner regarded his work as a space for encounters and collaborations with institutions, small structures and artists. He saw his role in this as a translator or intermediary between the client and the public. Frédéric Teschner forged a graphic vocabulary and an innovative stylistic palette directly in gear with the Internet revolution experienced by his generation. He was less interested in the tool than in what it can do to renew our relationship with the image, in terms of its dissemination, hierarchical organisation, use and even deterioration. He made the enlarged pixel the basis of his graphic language, exaggerating its size to make it a pictorial element. By taking one commission as an example of each designer s work, the exhibition shows the richness and diversity of graphic design today (posters, flyers, brochures, stationery, objects, books and disc sleeves), emphasising its cultural, intellectual and aesthetic challenges in a world invaded by images and signs.

3 5. Anette Lenz, Pharenheit Festival de danse, Le Phare-Centre chorégraphique du Havre, affiche Pierre di Sciullo, Qui? Résiste n o 12, affiche 2008 These presentations include: M/M (Pari)s for the Théâtre de Lorient (1996 to 2015). For each poster, these two graphic designers adapted the rules of classical tragedy: unity of time, place and action. Each poster is constructed around a colour photograph and a high-contrast black and white title. The image, apparently a documentary picture of everyday life, was chosen after attentive reading of the play and conversations with the theatre s director, Eric Vignier. Anette Lenz for Le Phare - Centre chorégraphique National du Havre (since 2011). To conceive Le Phare s visual identity, Anette Lenz took the centre s name and its mission to promote culture as her starting points. The centre s communication documents transpose two elements, light and radiance, using luminously coloured halos like beams to illuminate the name of the centre and the event. Pierre Di Sciullo and the review Qui? Résiste, (since 1983). For the twelfth number, Pierre Di Sciullo produced the N importenawak series of twelve posters on the theme of joyful nonsense. These posters, he says, are a typographic bonfire of vanities and adverts, a poetic hymn to the poster in the street. They incite us to realise the ambivalence of words, the duplicity of slogans and the act of reading at an inopportune moment. Les Graphiquants for Stéphane Kélian (2017). Commissioned by the shoe brand to redesign its visual identity, les Graphiquants remained faithful to their principle of combining graphic signs and typographic experimentation, playing on geometric abstraction and poetry and making full use of colour to punctuate their vocabulary, notably with photography. With the warmth of luminous colours, we wanted to give a more abstract, pictorial dimension to the rigorous architectural lines and androgynous minimalism dear to the brand.

4 7. Julie Rousset, L Impossible. L autre journal n o 1, journal Vier5, CAC de Bretigny, Rien du tout.x Event, affiche Cléo Charuet, Monoprix, packaging 2011 Julie Rousset for L Impossible, L autre journal (2012). In response to the newspaper s multiplicity of writers and points of view, Julie Rousset created a sensation of overflowing with a page layout doing away with margins, jumbled, framed and reframed content and displaced imagery to convey the idea of proliferation, even hubbub. Cléo Charuet for Monoprix (since 2010). Cléo Charuet s idea for redesigning Monoprix s product packaging was simple: breaking imposed rules by exploiting the obligatory text on packaging as a graphic element in its own right. She decided to no longer privilege imagery on packaging since other brands already provide this visual information on the shelves, and to use new complementary and dissonant colour codes to distinguish them. Typography and colour thus become the only key brand signs for some two thousand products ranging from food, hygiene and beauty to home and interior decoration. Vier5 for the Centre d Art Contemporain de Brétigny-sur-Orge (since 2002). Vier5 s particular conception of their work presupposes full commitment on the client s part. Pierre Bal-Blanc, director of the CAC Brétigny, regards the work of graphic designers as an integral part of the centre s artistic programme. He allows them complete freedom to periodically reinvent the centre s visual identity. The logo is constantly renewed in function of the project and the artists exhibiting, so that each event has its own graphic language. Thus each graphic object is a specific response, a singular combination of signs adapted to the client, and because these responses are also motivated by cultural, social and urban considerations, all the projects shown in the exhibition are accompanied by texts giving a fuller understanding of the designer s artistic response. The Musée des Arts Décoratifs Graphic Design collection: The graphic design collection is unique in its diversity and shows just how much this discipline, so omnipresent in our daily lives, epitomises the museum s motto: The beautiful in the useful. The museum s role is to preserve and show this collection and promote this discipline and its actors via its exhibition programme and, for seven years now, the organisation of the Rendez-vous Graphiques programme of discussions with graphic designers. Comprising a historic collection of 50,000 posters dating from the 18 th century to the Second World War, and a modern and contemporary collection also comprising more than 50,000 items, the collection is constantly being enriched by an extremely active acquisition policy, focussing essentially on French and foreign designers.

5 key information Curator: > Amélie GASTAUT, Curator, Graphic design/advertisement Department, Musée des Arts décoratifs Design: > HELMO les arts décoratifs Pierre-Alexis Dumas, Chairman David CAMéO, General director Pascale de seze, Communication director the museums Olivier GABET, Director The Arts Décoratifs museum > phone Metro stations : Palais-Royal, Pyramides, Tuileries Open Tuesday to Sunday 11am to 6pm (Late opening Thursday until 9pm : Temporary exhibitions and jewellery gallery only) admission > full rate: 11 > reduced rate: 8.50 Musée Nissim de Camondo 63 rue de Monceau, Paris > phone Open Wednesday to Sunday 10am to 5.30pm Closed Monday and Tuesday admission > full rate: 9 > reduced rate: 6.50 educational and cultural services The Educational and Cultural Department organises museum tours for adults, groups and individuals > reservations thematic workshop-tours and guided tours related to an exhibition for 4 to 18 yearolds > reservations lectures and panel discussions > reservations la bibliothèque Bibliothèque des Arts décoratifs 107, rue de Rivoli Paris > Téléphone : Ouverte du mardi au samedi de 10 h à 18 h l école camondo René-Jacques Mayer, Director 266, Boulevard Raspail, Paris > phone les ateliers du carrousel Fulvia Di Pietrantonio, Director 266 boulevard Raspail, Paris 63 rue de Monceau, Paris > phone the museum boutique 107RIVOLI art mode design paris > phone Open 10am to 7pm Closed Monday the restaurant loulou restaurant - bar - terrace or access via the Carrousel Gardens Open all days from 12pm to 2am > phone internet