In 2025, Julien Gosselin took charge of the prestigious Parisian Odéon Théâtre de l’Europe, previously known as Théâtre de l’Odéon. Atelier Choque Le Goff was commissioned to design a new visual identity for the theater. Playing with words, they used big type and expressive layouts, mixing letters and illustrations by Martin Groch on colorful backgrounds. The cast for the new identity is as follows: Insitu, Exposure, and Neue Haas Grotesk.

The Maison des Métallos is a public cultural center in Paris located in the 11th district. The institution is dedicated to the performing arts, hosting performances, theater, dance and other events and gatherings.

The creative studio Feelings designed a new visual identity for this historical venue using Modale Antique as the main typeface. It is complemented by LL Mono in its bold version for the programs.

The exhibition Petits mondes (“Small Worlds”) at the Hôtel des Arts TPM presents works from the collections of the Centre Pompidou, the Centre National des Arts Plastiques, the Musée des Arts Décoratifs in Paris, and the Mobilier National. It explores the world of childhood, where furniture, toys, decorative objects, and illustrated books stimulate imagination and creativity, promoting children's personal development.

For the visual identity and the catalogue, Marc Armand used Rillus (as the main typeface) and Malamocco (for body text).

Maison Solide developed a lively and colourful graphic language for La Locale, a social and solidarity grocery store situated in the 17th district of Paris. The identity is embodied by veggie-shaped characters drawn by the studio, cheerful colours, and the bold use of Malamocco and GT Alpina Typewriter.

Rialto is a platform and commerce tool for dealers and galleries in art, design, antiques and furniture. The studio Alexis Mark designed Rialto’s visual identity (creative direction is by Kristen de La Vallière) using Insitu for the logo and the titles, and GT America Mono for text and captions.

Published on the occasion of Dana Schutz’s 2023 exhibition at David Zwirner, New York, Dana Schutz: Jupiter’s Lottery features images of the artists’s work as well as a long-form essay by Jarrett Earnest, who chronicles Schutz’s artistic process as she creates her most ambitious sculpture to date, Sea Group.

The catalog was designed by Javas Lehn Studio using Kernevel and Styrene B.

Chemins de traverse is a book by Luca Eminenti Chanteau presenting seven interviews he conducted with young French architects who chose to establish their practices in a rural environment. The book, in paperback format, transcribes their discussions.

Emmanuel Besse did the design and used his own typeface Cedrat Text in Light and Bold (plus italics).

Tu peux répéter ? Écrire, parler, expérimenter les langues avec Marianne Mispelaëre is a book published by Paraguay Press following several workshops with children around the question of language, led by the artist Marianne Mispelaëre in Marseille. For the design, Bureau Roman Seban and Claire Mouton used Rillus, Mercure and GT Pressura.

From the publisher’s website (translated):

We all agree that language is a rich resource. But what exactly are we talking about when certain languages are inaudible at school?

This book is an extension of the work carried out by artist Marianne Mispelaëre in a secondary school in Marseille between 2020 and 2022. It explores the different relationships that our languages – read, spoken, understood and surrounding us – have with the French language, with our histories and our identities, at school and in all social exchanges. Multilingual, allophones, born here or elsewhere, the students, in all their diversity, took part in workshops devised by the artist to explore the value of the languages that cross our lives – what a language does to, what a language says about our perception and understanding of the world.

Pratiche di posizionamento – Positioning practices is a research project on Italian colonialism conducted by the students of ISIA Urbino that resulted in an exhibition and a book. The identity of this project is designed with Insitu and Martina Plantijn.

It was curated by Silvana Amato, Luca Capuano, Alessandro Carrer, Matteo Guidi, Armin Linke, Jonathan Pierini.
Projects by Sofia Cambiaggio, Michela Del Longo, Alida Lardini, Sofia Noce, Arianna Mattietti Orani, Gennaro Mungiguerra, Alessia Pagotto, Chiara Rebolino, Khrystyna Shostak, Lorenzo Urgesi, and Marta Vultaggio.
Paola Binante is the coordinator for the MA Photography.
The graphic design is by students of ISIA Urbino, supervised by Silvana Amato with Roberta Antinolfi, Lukas Osele. and Agnese Pozzobon.
Giulia Peraro handled the exhibition production and the production coordination.

The Théâtre Olympia, Centre dramatique national de Tours is a national public theatre in Tours, France. When Bérangère Vantusso was appointed director, she commissioned Cylindre Studio to design a new visual identity. Cylindre used Rillus and Self Modern throughout the visual communication system.

Hovedstaden bag facaden (“The capital behind the facade”) by Ulf Svane and Mathias Kobberrød Rasmussen of Copenhagen Archive is a 400-page photo book, published by Lindhardt & Ringhof, documenting the small, local, historical, and unfortunately disappearing businesses of the city of Copenhagen.

Spine Studio did the layout using Malamocco and Century Schoolbook.

Paris-based production company Frenzy commissioned Kim Lê Boutin to give the company a fresh start. To elevate Frenzy as a unified group, a platform featuring updates from each entity was launched: frenzyparis.global. With the help of the creative duo Aletheia, Kim Lê Boutin developed a fresh visual identity to reflect this ecosystem. Alongside the four new websites, they rolled out a new tone of voice, typographic identity, motion identity, communication and social strategy with a bold art direction exclusively using Modale Antique Medium.

Creative direction, brand strategy & talent sourcing: Kim Lê Boutin
Creative production: Aurélie Chatenet
Development: Julian Garnier
Motion and visual identity: Aletheia
Digital design: Agathe Bourrée, Minh Ginkgökoko, Ji Park

Every summer since 2020, the Villa Noailles and the Hôtel des Arts TPM have played host to the national design collections during the Design Parade Festival in Toulon. For the third edition of Les Aliénés du Mobilier national, some thirty artists, designers and interior architects have given free rein to their creativity, reinterpreting and transforming pieces that have been removed from the Mobilier national’s inventory to breathe new life into them, in a scenography designed by Paul Bonlarron.

Marc Armand is in charge of the visual identity of the Villa Noailles and chose Malamocco (again) for the vibrant and colourful visuals of Remix’s posters and catalogue.

For the book The Surplus of the Non-Producer, Léna Araguas, Alaric Garnier & Charlotte Carletto used Insitu for titles, Exécutif Moderne for text and Enduro for captions. The book is published by Rotolux Press, their own imprint.

Since 2017, The Surplus of the Non-Producer has travelled through several venues, from art centers to high schools, disseminating along the way a practice of commoning that challenges the codes and habits of institutional praxis. Working with and through the plurality of the assembly, Ève Gabriel Chabanon invites us to question the conditions and politics of cultural labor. The Surplus of the Non-Producer then continued testing its modes of gathering, dwelling, making debt and making space on the edge and through the margins in Le Surplus at Bétonsalon, Paris (2020); Chapter 3 at Westfälischer Kunstverein, Münster (2020); and Chapter 4: Sold at Beursschouwburg, Brussels (2021). Well, then a solution is: practice more failure. From workshops and exhibitions to contractual negotiations and collective translations, Ève Chabanon modelled The Surplus as a loose yet abiding get-together that this publication attempts to crystallize.

With contributions by Mathilde Belouali-Dejean, Sophie Cras, Sofia Dati, Abou Dubaev, Cédric Fauq, Katherine Gibson, Abdulmajeed Haydar, Aram Ikram Taştekin, Philipp Kleinmichel, Ingrid Luquet-Gad, Madeleine Planeix-Crocker, Rosanna Puyol Boralevi, Kristina Scepanski, Johanna-Yasirra Kluhs.

Coming Soon is a group exhibition taking place at Lafayette Anticipations (Paris, France) from 28 February to 15 May 2024. The exhibition looks at our relationship and ways of being towards what is ahead, eludes and awaits us. Between predictions, oracles, systems of anticipation and capitulations, the exhibition mixes commissions from contemporary artists with historical objects.

For the exhibition’s visual communication, Pierre Vanni used Modale Antique along with Riccione.

Plan Libre / PLAN L**** is a magazine produced by the Maison de l’Architecture Occitanie-Pyrénées. Plan Libre was started in 2002 with the aim of disseminating architectural culture and promoting its qualities to a wide audience.

The art direction is assured by Pierre Vanni and the layout is produced by Documents. The new version of the magazine, entitled PLAN L****, was redesigned in 2023 using Modale Antique by Formagari and Affairs by SM Foundry.

Les Franciades is part of the Massy Opéra district, a “grand ensemble” which is also the site of the largest shopping center ever built in France in the 1960s.

Creative design office Zoo designed the book Massy, les Franciades – renouveau d’un quartier (English: Massy, les Franciades – Renewal of a District) in collaboration with Paris Sud Aménagement and Ante Prima, as part of a series dedicated to the architectural evolution of the city of Massy. Zoo chose Insitu Black for titles, Adobe Garamond for text, and some Neue Haas Unica on the cover.

A pdf of the publication is available for download from the website of Paris Sud aménagement.

The Point • festival (pronounced “point point”) is an artistic promenade devised by the FAIRE DE RIEN association, inviting artists to take over the French city of Avranches like an open-air museum.

The artists are invited to create works that fit into the public space and play on their degree of visibility by exploiting the diversity of the urban landscape.

For the fourth edition in 2023, the graphic design duo Paul&Thomas used Rillus Extralight and Semilight throughout the visual communication of the event.

Hôtel-Dieu, the oldest hospital located in the heart of Paris, sits on Île de la Cité, one of the two natural islands on the Seine, and in the immediate vicinity of the Notre-Dame Cathedral, as a significant place for the residents of the French capital. For centuries, this architectural landmark has withstood both the changing cityscape and its dynamically shifting role in healthcare. Despite numerous metamorphoses – expansions, reconstructions, damages from fires, and the passage of time – it remains a respite for those seeking support. Over time, Hôtel-Dieu has also adapted to the needs of a changing society and scientific advancements. Today, while maintaining its medical functions, the hospital is also a vital hub for medical research and a home for innovative start-ups.

Cyril Delhomme, Maison Solide and Studio BOLOZ designed an installation in the courtyard of Hôtel-Dieu dedicated to all users of this place: staff, patients, caregivers, and start-ups from the innovation and health sector. The story of Hôtel-Dieu’s evolution begins at the entrance hall, where visitors are greeted by a series of symbolic illustrations bridging the past, present, and future of this historic venue.

Maison Solide used Rillus (Formagari) for titles, Agipo (Radim Peško) for texts, and Pitch (Klim Type Foundry) for captions.

Scenography: Cyril Delhomme
Graphic design and illustrations: Maison Solide
Designer: Studio BOLOZ
Concept, coordination, and production: Manifesto

esea contemporary is the UK’s only non-profit art centre specialising in presenting and platforming artists and art practices that identify with and are informed by East and Southeast Asian (ESEA) cultural backgrounds.

esea contemporary is situated in an award-winning building in the heart of Manchester, home to one of the largest East Asian populations in the UK. Since its inauguration as a community-oriented visual arts festival in 1986, esea contemporary – previously named Centre for Chinese Contemporary Art – has continuously evolved to establish itself as a dynamic and engaging space for cross-cultural exchanges in the British art scene, as well as in a global context.

Regular Practice designed the art centre’s visual identity and website using Malamocco in different weights. The logo is set in Molitor.