The performance "Los Idiomas" by Alessandra García explores how language shapes our perception of the world and our relationships. Alessandra reflects on oral, physical, and emotional languages and how these forms of expression can either connect or separate us.

What makes this piece unique is that Alessandra doesn’t speak any language. This absence emphasizes the universality of the body and emotions as tools for communication. Through her intonation, movements, and non-verbal communication, the actress becomes the language itself, speaking them all without knowing a single word, turning limitation into strength.

The staging takes place in an intimate space where Alessandra uses words without understanding any language, accompanied by bodily movements that invite the audience to question how language defines our identity.

For the visual identity, we translated the sonority of languages into typography. Using Formula Condensed for the headline “Los Idiomas,” we displaced the sheet during the scanning process, creating a wordmark that reflects vibration and movement, in harmony with the essence of the performance. For the residual information, we used Neue Montreal and Noto Sans (for the Japanese and Arabic parts).

Posters and publication for a two days masterclass about typeface and writing between France and Germany at ÉSAD Amiens. The idea of the poster is to graphically express and explore a tension between fastness and stiffness of a gesture. And in the lines, you can read HAND and TOOL.

Simon Renaud was responsible for the graphic design of the posters and the publication. He used his own typeface Augure, distributed by 205TF.

Coolhunter Favela is an initiative by Rafaela Pinah that acts as an ethnographic research laboratory, uncovering the origins of aesthetic and cultural manifestations in the world’s peripheries. The visual identity created is simple yet impactful, highlighting the unique work of this project.

Inspired by the cultural richness and strength of peripheral communities, we developed a visual identity that uses contrast and the power of geometric shapes to capture the authentic essence of the favelas. The combination of robust typography with minimalist graphic elements creates a powerful and meaningful visual presence, reflecting the energy and depth of these communities.

This approach not only enhances Coolhunter Favela’s mission and values but also provides a visual platform that amplifies the voices and stories of the peripheries, bringing forth the beauty and depth of deep Brazil.

This booklet was made to support the exhibition Nectar at the Kadist Gallery, presenting the work of the contemporary American artist Xaviera Simmons. It contains visuals from the AFRO American Newspapers archives and a conversation between Xaviera Simmons, Maboula Soumahoro and Savannah Wood. The fonts used for the layout are an inclusive version of Self Modern, designed in collaboration with the designer Maëlle Brientini, and Ego by Pierre Vanni.

Drag, un art queer qui agite le monde (“Drag, a queer art shaking up the world”) is a book about the history of drag culture, written by Apolline Bazin. The titles are set in Sehnsucht (Marco Juan Lavandier, the designers of the book), the body text in Chronicle ​​​(Jonathan Hoefler), and the captions in a yet unidentified sans serif.

Description of the book by Éditions EPA (translated by DeepL):

This book looks at the history of drag and the place it occupies in our society today, highlighting figures who are popular or underground, festive or committed, consensual or radical, all of whom have changed things in their own way, between resistance, sublimation, humour and ferocity. Now an integral part of pop culture, drag remains in perpetual motion, showing us its incredible capacity for self-renewal.