Tell us about the book's production—how has it been made, and what influenced your choice of materials and processes?
After the symposium, we were asked to design a follow-up book published by CCS Bard, LUMA and MIT press. This publication acted as a culmination of the discussions held in Arles, along with some new contributions that offered new perspectives. Structured as a series of essays, the book was softly divided in two chapters, plus a reproduction of an artwork specifically created for the symposium by artist Céline Condorelli.
To begin we decided upon an A4 format for the book. It seemed appropriate to start from a standard format used by almost every country in the world – apart from American influenced countries – and in some ways it represents the epitome of an institutionalised sheet of paper. The design expands on the symposium identity, whereby the book is built on a grid displaying different ‘constructs’. The essays’ layout changes throughout book, from one to two columns, from side-notes to footnotes. This variety reinforces the idea of a breadth of positions, rather than fixed conclusions. This design approach also allowed to better represent the tone and typology of the contributions. A longer column for deeper reads, a two-column system for more ‘narrative’ essays, and alternating widths for conversations.
Céline’s piece, All Our Tomorrows, was installed in Arles as a curtain, creating a room within the symposium’s main room. We translated this within the design into a photographic essay on the very first and last pages of the book, surrounding the debate.
Lastly, as an object, the book plays on expectations of authority: The cover feels official through the use of cloth, but it’s glued onto a more informal softcover. The format is large, but light in weight due to the use of bulky book wove paper.