Typojanchi 2013
Seoul International Typography Biennale

August 30–October 11
10:00 am– 7:00 pm
Closed every Monday
Free admission

Culture Station Seoul 284
1 Tongil-ro, Jung-gu
Seoul 100-162, Korea
T. 82-2-3407-3500
F. 82-2-3407-3510

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Hosted by
Ministry of Culture, Sports and Tourism

Organized by
Korea Craft & Design Foundation
Korean Society of Typography

Credits

Typojanchi 2013
Administration Office
Korea Craft & Design Foundation
5F, 53 Yulgok-no, Jongno-gu
Seoul 110-240, Korea
T. 82-2-398-7945
F. 82-2-398-7999
E. typojanchi@kcdf.kr

Typojanchi 2011

Blanche ou L’Oubli / Blanche or Forgetting
 
2013
Mixed-media installation: wooden bookshelves and collected books
Dimensions variable

John Morgan
with Alex Balgiu, Jean-Marie Courant
and 6a architects

John Morgan
Born in 1973, UK

morganstudio.co.uk

Alex Balgiu
Born in 1985, France

Jean-Marie Courant
Born in 1966, France

6a architects
Founded in 2001, London


A graphic designer based in London, John Morgan established his eponymous studio in 2000. His projects have included prayer books for the Church of England, graphic identity for David Chipperfield Architects, and exhibition design for the Design Museum, London. He has written for a number of journals including Dot Dot Dot and AA Files, and has taught in various design schools, including Central Saint Martins and the University of Reading. His studio won the graphic design category in the Design Museum’s Designs of the Year 2013 for the Venice Architecture Biennale 2012. He was also nominated in 2012 for AA Files, the Architectural Association’s journal of record, and in 2011 for the Four Corners Familiars series, a re-imagining of classic books.

Blanche ou L’Oubli / Blanche or Forgetting is a new installation by John Morgan with Alex Balgiu, Jean-Marie Courant and 6a architects. Alex Balgiu is a graphic designer based in Paris. He teaches at the École nationale des beaux-arts de Lyon. Jean-Marie Courant is a graphic designer living and working in France. He signs his works using a name borrowed from the vocabulary of typography: Regular. Most of his work is focused on editorial and visual identity projects. He teaches at the École nationale des beaux-arts de Lyon. 6a architects was founded by Tom Emerson and Stephanie Macdonald in 2001. The practice has developed a particular reputation for award-winning contemporary art galleries, educational and residential projects in sensitive historic environments.


Like many archetypes, the design of the celebrated collection Blanche/White published by the Nouvelle Revue Française (NRF) and Gallimard is the result of compound sensibilities—the taste and direction of the founders, which included André Gide and Jean Schlumberger—and the implementation by the printer Edouard Verbeke of the St. Catherine Press in Bruges.

There’s a collectively inherited idea of what constitutes a “Blanche”—an off-white cover stock which gives the collection its name, a paperback you can hold comfortably in your hand but perhaps not in your pocket, a single black ruled frame containing a double red frame, centered text alignment, a title colored red, the author’s name in black and the publisher’s italicised NRF device. The specific peculiarities are harder to define. Which white or cream exactly? Was it always this color or has time taken its toll? Text set in a high-contrast Didone or a Garalde? Titles set in all capitals or upper and lowercase, roman or italic? A warm typographic orange or a deep blood red?

Like the narrator of Aragon’s Blanche ou l’Oubli / Blanche or Forgetting who attempts to recall his love for Blanche, a woman he loved some forty years ago, we can forget what our love looks like, and over time her appearance changes. Here we attempt to capture an image of the Blanche collection. In this attempt to find the truth about the past, we are left in a state of uncertainty—though still in love with Blanche, we don’t quite know who she is.

Our selection classifies over 400 books into twenty-five thematic sections named after a book title within that theme. Within Pastiches et Mélanges we see the nuances and evolution in design of the same titles through time, in this case Gide’s Les Nourritures terrestres / The Fruits of the Earth from 1937 to 1951, and Mallarmé’s Poésies from 1917 to 1941. Nouvelles du cœur / News from the Heart gives us Breton’s L’Amour fou / Mad Love, the obsessional kind of love that deranges the senses and two episodes of Le Crève-cœur / Heartbreak from Aragon. Un nom toujours nouveau / A Name Always New gathers Elsa, Barny, Nadja, Héloise, Tristan, Anny, Sylvia, Creezy and Isabelle amongst others. Those without a home, the orphans, or the difficult are housed in Fils de personne / Nobody’s son, here we place both L’Enfant de chœur / The Choirboy and Le Pire / The Worst.

[Text by John Morgan]


Blanche or Forgetting Classification
 
Pastiches et Mélanges / Pastiches and Mélanges
Sous le lien du temps / Under the Aegis of Time
Les Plaisirs et les Jours / Pleasures and Days
Partage de midi / The Break of Noon
Nouvelles des yeux / News from the Eyes
Nouvelles du cœur / News from the Heart
Ailleurs / Elsewhere
Gravitations / Gravitations
Volière / Aviary
Les Jeux et les Hommes / Man, Play and Games
En marge des marées / Within the Tides
Un nom toujours nouveau / A Name Always New
L’Écrivain public / The Public Writer
Lettres à quelques-uns / Letters to a Few
Poèmes offerts / Offered Poems
Le point où j’en suis / Where I am
Le Livre ouvert / The Open Book
Les Mots / The Words
Traité du style / Treatise on Style
La Parole en archipel / The Word as Archipelago
L’Espace littéraire / The Space of Literature
Variété / Variety
Un champ de solitude / Domain of Solitude
Fils de personne / Nobody’s Son
Du plus loin de l’oubli / Out of the Dark

Blanche

Blanche

Blanche

Blanche

Courtesy: the artist


Blanche

Courtesy: the artist


© Typojanchi 2013