Atelier Tout va Bien

Atelier Tout va bien is a french graphic design studio based in Dijon and founded by Anna Chevance and Mathias Reynoird. Both consider graphic design as an intrinsically contextual creative activity. Since 2011, Atelier Tout va bien aims at developing multiple forms of visual languages mainly through printed matters, in order to settle possible interactions between structural functionalities, experimentations, typographical accuracies and visual narrations. To see, to look, to read, to understand.

Tribute to Josef

The Bujeok anchored in the Asian culture and beliefs, traditionally composed with letters and drawings to wish good fortune or to protect against calamities, does not exist in France. Talismans and amulets are present in our culture thanks to occultism but are very little used in the Christian religion beyond the protective cross of the Christ. Most popular French good-luck charms are unholy objects such as the horseshoe, the rabbit’s foot, the ladybug, the flower May lily of the valley and of course the four-leaf clover. In other words, no link can really be found between Asian and French cultures on the issue of talismans.

We are highly interested in the original medium of the Bujeok, its tangible substance: the paper. A sheet of paper is a tool, for memory, game, poetry, literature, information and sometimes graphic design. Its uses are infinite, which is its interest. We have been using this material since the beginning of our work, mostly practicing with a standard A4 sized white sheet of paper, to transform it into volumes and morph it into an image. Our fascination by such an ordinary material was inspired long ago by the discovery of the introduction to Josef Albers’ course at the Bauhaus school in the 1920s (about paper sculpture). As a result, a quote from Josef Albers’ introduction speech at one of his preliminary courses about paper at the Bauhaus in 1928 has been hidden in some folds yet, tracing a certain path. We are searching with paper a way to return to some of the origins of graphic design. Somehow, thanks to this nearly meditative practice, a form of spirituality and even perhaps a return to the virtues of the Bujeok could be achieved.

  • 2200 × 1200 mm
  • Pigment print
  • 2021
  • Coming soon.
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1. A Sacred Tree

Humans have long visualized abstract concepts such as religion and law using writing systems. We make amulets for the purpose of praying for the happiness of individuals and groups, or fortunetelling, and sometimes record human wishes with text, including the interpretation of the operation of the universe. Such a behavior has been handed down from ancient times to the present in similar patterns. It is a fundamental human desire to avoid fear about invisible beings and phenomena as well as ill luck and to pray for blessings. ‘A Sacred Tree’ deals with the wishes and beliefs of artists who have shown unique visual expressions. This part highlights the balance of life and an attitude to wish for it (Dohee Kwon), the wisdom from tradition and experience (Zhao Liu), the symbol of good luck based on personal experience (Studio Bergini), our destiny that embraces both much of our joy and sadness at the same time (Anthony Lam), the return to the most basic attitude (Atelier Tout va Bien), words to bear in mind (Ahn Mano), the balance between given destiny and desire (O.OO), a circulation of the world and a mind that calmly contemplates life while observing it (Hwayoung Lee), amulets for confirming one’s beliefs (Ikki Kobayashi), and criticism of society and culture (Tnop Wangsillapakun). These artists’ thoughts and emotions are installed like traditional five- colored ribbons hanging from a sacred tree just as in Korean villages for centuries. We hope viewers will find many of their wishes captured in the works made of characters and symbols of several cultures and enjoy them together.

Slowly with a turtle
Quickly with a crane
With a Turtle
With a Crane