Grapus
Encyclopedia
Grapus was a collective
of graphic artists, working together between 1970 and 1991, which sought to combine excellence of design with a social conscience.
The group's members were all members of the Communist party
, and the group maintained an explicit political, social and cultural engagement. They at first rejected assignments with commercial and government clients, instead working with experimental theatre
groups, progressive town councils, the Communist Party itself, the Communist trade union CGT
, educational causes, and social institutions. Even in later years, when the staff had grown to 20, operating in three distinct groups, they signed all of their work simply “Grapus.”
Grapus wore its Marxist heritage proudly, remaining devoted to the plebeian immediacy of posters, leaflets and bumper stickers. Among its recurring elements of style are the use of handwritten text, the use of an extensive symbolic vocabulary (e.g. hand, foot, moon, sun), and the convergence of diverse techniques (e.g. drawing, painting, photography, text), a technique known as “detournement, the rerouting of a message through acts of visual vandalism.” http://www.aigany.org/ideas/features/bernard.html Beginning in 1978, Grapus gained exposure in important exhibitions in Paris (Musée de l'Affiche); Amsterdam (Stedelijk Museum); Aspen, Colorado; and Montréal (Musée d'art contemporain).
In 1990, after receiving the French Grand prix national des arts graphiques, the collective faced a difficult ideological test when they had the opportunity to design the visual identity of the Louvre Museum. Bernard was in favor of taking the assignment, believing that design for cultural institutions could be a tool for social change. His partners wanted to design exclusively for social causes, found the Louvre to be elitist, and believed that taking the job would compromise their convictions. As a result, the collective decided to part ways in January 1991. http://www.aigany.org/ideas/features/bernard.html Bernard, however, remains committed to a conception of design as a powerful tool for social commitment: "The dissemination of public graphic design to the most socially and/or culturally deprived, is one of the means to achieve the desired aims of community and social justice."http://www.icograda.org/web/news-display.shtml?pfl=www/news-single-past.param&op2.rf1=457
(ENSAD).
Gérard Paris-Clavel joined with Vincent Perrottet to begin the studio les Graphistes Associés. Shortly thereafter, he left and formed the group Ne Pas Plier (“do not bend”), which broke with the traditional conception of a graphic studio by refusing “corporate” work, allying itself instead with sociologists, social workers, laborers, and other workers for public education.
Alex Jordan founded the studio Nous Travaillons Ensemble (NTE: “we work together”) with Ronit Meirovitz and Anette Lenz, with whom he had worked within Grapus. They intended to pursue a seamless continuation of the Grapus approach, without being constricted by a paralyzing ideology. Since its creation in 1986, NTE has worked in partnership with the photographers’ association le bar Floréal, and has also collaborated on numerous works with the multidisciplinary organization la Forge.
Collective
A collective is a group of entities that share or are motivated by at least one common issue or interest, or work together on a specific project to achieve a common objective...
of graphic artists, working together between 1970 and 1991, which sought to combine excellence of design with a social conscience.
History
The group was founded in France in 1970 by Pierre Bernard, who had studied with the Polish poster designer Henryk Tomaszewski; François Miehe; and Gérard Paris-Clavel, who had met during the student movement of May 1968 and were influenced by the subversive ideas and practices of the Situationist International. Alex Jordan and Jean-Paul Bachollet joined the group in 1975. After Miehe’s departure in 1978, the core of the group found its equilibrium.The group's members were all members of the Communist party
French Communist Party
The French Communist Party is a political party in France which advocates the principles of communism.Although its electoral support has declined in recent decades, the PCF retains a large membership, behind only that of the Union for a Popular Movement , and considerable influence in French...
, and the group maintained an explicit political, social and cultural engagement. They at first rejected assignments with commercial and government clients, instead working with experimental theatre
Experimental theatre
Experimental theatre is a general term for various movements in Western theatre that began in the late 19th century as a retraction against the dominant vent governing the writing and production of dramatical menstrophy, and age in particular. The term has shifted over time as the mainstream...
groups, progressive town councils, the Communist Party itself, the Communist trade union CGT
Confédération générale du travail
The General Confederation of Labour is a national trade union center, the first of the five major French confederations of trade unions.It is the largest in terms of votes , and second largest in terms of membership numbers.Its membership decreased to 650,000 members in 1995-96 The General...
, educational causes, and social institutions. Even in later years, when the staff had grown to 20, operating in three distinct groups, they signed all of their work simply “Grapus.”
Grapus wore its Marxist heritage proudly, remaining devoted to the plebeian immediacy of posters, leaflets and bumper stickers. Among its recurring elements of style are the use of handwritten text, the use of an extensive symbolic vocabulary (e.g. hand, foot, moon, sun), and the convergence of diverse techniques (e.g. drawing, painting, photography, text), a technique known as “detournement, the rerouting of a message through acts of visual vandalism.” http://www.aigany.org/ideas/features/bernard.html Beginning in 1978, Grapus gained exposure in important exhibitions in Paris (Musée de l'Affiche); Amsterdam (Stedelijk Museum); Aspen, Colorado; and Montréal (Musée d'art contemporain).
In 1990, after receiving the French Grand prix national des arts graphiques, the collective faced a difficult ideological test when they had the opportunity to design the visual identity of the Louvre Museum. Bernard was in favor of taking the assignment, believing that design for cultural institutions could be a tool for social change. His partners wanted to design exclusively for social causes, found the Louvre to be elitist, and believed that taking the job would compromise their convictions. As a result, the collective decided to part ways in January 1991. http://www.aigany.org/ideas/features/bernard.html Bernard, however, remains committed to a conception of design as a powerful tool for social commitment: "The dissemination of public graphic design to the most socially and/or culturally deprived, is one of the means to achieve the desired aims of community and social justice."http://www.icograda.org/web/news-display.shtml?pfl=www/news-single-past.param&op2.rf1=457
After Grapus
The group's original members have maintained their principles in their work. Pierre Bernard, along with Dirk Behage and Fokke Draaijer, founded the Atelier de Création Graphique (ACG). They took the Louvre job and, among other works, designed the identity for the national parks of France, and signage for the Centre Pompidou. The ACG works in the areas of publishing, publicity and signage, as well as creating visual identity. Pierre Bernard has been a member of the Alliance Graphique Internationale since 1987, received the Erasmus Prize in 2006, and teaches graphic design in Paris at the École nationale supérieure des arts décoratifsÉcole nationale supérieure des arts décoratifs
The École Nationale Supérieure des Arts Décoratifs is a public university of art and design and is one of the most prestigious French grande école...
(ENSAD).
Gérard Paris-Clavel joined with Vincent Perrottet to begin the studio les Graphistes Associés. Shortly thereafter, he left and formed the group Ne Pas Plier (“do not bend”), which broke with the traditional conception of a graphic studio by refusing “corporate” work, allying itself instead with sociologists, social workers, laborers, and other workers for public education.
Alex Jordan founded the studio Nous Travaillons Ensemble (NTE: “we work together”) with Ronit Meirovitz and Anette Lenz, with whom he had worked within Grapus. They intended to pursue a seamless continuation of the Grapus approach, without being constricted by a paralyzing ideology. Since its creation in 1986, NTE has worked in partnership with the photographers’ association le bar Floréal, and has also collaborated on numerous works with the multidisciplinary organization la Forge.