Documents 

The first book of visual identities, photographs, typefaces, books, films, posters, and installations by Akatre. The visual identities, installations, and Edited byial designs of French design agency Akatre are marked by bold swaths of color, elaborate photographic still lifes, and striking re-appropriations of everyday objects. Zero to Five is the first book to showcase Akartre’s distinctive and experimental visual creations, which cross fluidly between photography, graphic and web design, art, and typography. Founded in 2007 and comprising Julien Dhivert, Sébastien Riveron, and Valentin Abad, and now one of the most coveted studios in Paris, Akatre takes on projects that require an involved and all-encompassing design approach. Because Akatre does typography, layout, photography, and video themselves, their work requires strong personal and emotional involvement, thereby turning each project into a personal exploration and a part of the studio’s evolution. Much of Akatre’s designs are manifested as photographs of subject matter involving elaborate balancing acts, everyday objects exaggerated in multiplicity or left hovering in space, delicate bodily extensions, and the occasional wild animal. Color and geometry are tightly controlled, every detail is carefully considered. Zero to Five features both non-commissioned work and work designed for clients in art, culture, music, fashion, and luxury fields. Akatre’s past clients include Mains d‘OEuvres, a multidisciplinary contemporary art venue; TU-Nantes, a cutting-edge performance space at the University of Nantes; Foundation Cartier, Cartier’s contemporary art center in Paris; and Para One & Tacteel, a French electronic music duo.

Par le biais des œuvres, les artistes font état de la très grande diversité des relations qui existent entre l’humain et l’animal et abordent cette question dans une perspective très large. Certains artistes utilisent cette relation pour explorer des représentations culturelles, pour réinterpréter des stéréotypes anthropologiques ou pour faire ressortir l’idée, encore très répandue aujourd’hui, de la primauté de l’être humain. D’autres s’intéressent plutôt au mode de classification, de collection et d’exposition qui sont propres à la fois au musée et au zoo, puisque ces derniers partagent un mode similaire d’appréhension et d’organisation du monde. D’autres artistes encore ont recours à des espaces ou à des métaphores qui ouvrent sur d’autres dualités ou zones de conflit. Parler de l’animal ou de l’animalité aujourd’hui, c’est parler du rapport que nous entretenons avec lui et, de façon plus vaste, du rapport à l’autre. [résumé de l'éditeur]

Accompanied by over 400 color photographs, a guide to the art of the carousel, or merry-go-round, traces its development by describing style variations and identifiable features of carousel animals produced by the major American carving companies; and includes descriptions and illustrations of restoration techniques; advice on buying, shipping and insuring carousel animals, and a census of operating carousels in the United States and Canada. [WorldCat summary]

The imaginative, often bizarre decorations that enliven fairgrounds, amusement parks and carnivals have a never-ending appeal to the popular imagination. Stunning carved and painted carousel horses, sinister mechanical targets, terrifying rides and alluring freak show banners are among the many wildly ornamented devices that use sex, horror and humour to entice fairground visitors to sample their wares. Fairground Art is the first book ever to thoroughly reveal the fascinating history of this unique art form. Also chronicled are the little-known histories of the myriad craftsmen and artists who created these dynamic works. [editor summary]