antiAtlas Journal

Art direction of an online research journal

Digital, bilingual and in free access, the antiAtlas Journal opens an exploratory editorial space dedicated to a radical transdisciplinary approach to contemporary borders. As an extension of the antiAtlas of Borders project relying on a collaboration between researchers and artists, it experiments new methods of editing and of modelization of research. The editorial directors are Cédric Parizot, Anne-Laure Amilhat Szary and Jean Cristofol. Its content is available online (desktop, tablets and mobiles) and in PDF format.

Published online on 13 April 2016, the first issue, Arts-Sciences Explorations at the Border, brings together articles by Anne-Laure Amilhat Szary, Jean Cristofol, Anna Guilló, Nicola Mai, Sarah Mekdjian and Marie Moreau, and Cédric Parizot and Douglas Edric Stanley. The second issue, Fictions at Frontiers (2017), will provide an account of research and reflections put forward by the antiAtlas of Borders’ collective.

Content for later thematic issues will be obtained via calls for papers: the first of these, for antiAtlas Journal n°03, will be published online on 1 June 2016.


Conceptualized and designed by Thierry Fournier and created with Papascript, the editorial and graphic layout for the Journal takes advantage of opportunities offered by digital publication for extending the experience of reading research articles. Its design of articles in wide “sheets” allows readers to access from a variety of levels: the text itself, and the network and landscape that the text creates through its iconography.

By opening up multiple proximities and circulations between text and image, it enables transversal trajectories and varying levels of perception that a linear organisation does not permit, though a linear pdf version will also be available. Very large images will extend beyond the screen: exclusive circulation within an image becomes one form of lecture, similarly to the way we move within a text.


Catalogue (2014)

Digital catalogue dedicated to the Augmented window project, 2014
Editing Thierry Fournier and J. Emil Sennewald
Distribution Pandore Edition

Texts by Jean Cristofol, Céline Flécheux, Thierry Fournier, J. Emil Sennewald. Programming Stanislas Schoirfer. English translations Clémence Homer.

Flatland is a digital catalogue devoted to the Augmented window project. It stems from a dialogue and a close collaboration between artist and curator Thierry Fournier, art critic and journalist J. Emil Sennewald, and developer Stanislas Schoirfer. From its beginnings, the catalogue was conceived for tablets. This choice is the result not only of the Augmented window project’s very logic and medium, but also of a willingness to explore how the tablet as a substrate contributes to the critical approach: beyond the mere aspect of mobility, how do the practices it generates create new relationships between meanings / relationships of meaning.

Together, the authors defined the project’s editorial direction, its interactive design and its visual identity, which uses Bartok, a new font created by Sarah Kremer, throughout the publication. Flatland accompanies Pandore Production’s edition of Augmented window for the iPad, as a free-standing application. This double publication enables the user to take part in a permanent dialogue, on a single substrate, between the catalogue and the experience of the works. Flatland, therefore, focuses more on the project’s critical and transversal aspects.

A new vision of space

Flatland is the title of a novella published by Edwin Abbott Abbott in 1884, “a politico-graphical allegory, somewhere between Lewis Carroll, Jonathan Swift and George Orwell”. Described as a forerunner of sci-fi literature, an exercise in geometry and a sharp critique of Victorian society, a digital edition of the book has just been released for tablets. The fact that it is now licensed for free distribution is not the only reason behind this new edition. As the author himself states in the introduction of his satire, he wants “to contribute to pushing back the frontiers of imagination”. That he chooses to do so by dealing with the notion of space is not without significance. It is perhaps the main reason behind the renewed interest [in this notion] sparked by Flatland’s digital version.

We are currently at a major turning point in the field of publishing, one that follows the turn taken by images (“iconic turn”) and space (“spatial turn”); so that today, we as artists, authors and editors, face a dynamic space that is no longer limited to the physical confines of the Renaissance’s monocular perspective. Today, space is the perforated space of houses linked to one another by cables. It is a space shaped by images. It is also a screen, which we stumble upon. Behind it, an augmented “space” opens up: “the physical space, layered with dynamically changing informations”. Identified in the 60s by Lefèbvre or Flusser, dynamic space has become subject matter for artists who ask themselves how, by what means, and through which structures space is augmented.

Practices of discernment

One cannot approach space without questioning the means that are used to represent it. These means – images, architectures, symbols appliances – constitute its very body. It is up to us – artists, critics, editors – to offer a practice of space; discernment to break with the logic of consumption, view its consequences with a critical eye, model its landscapes. In the face of the great movements of media concentration, this occurs in a dispersed way: by focusing on specific points, one can, in a way, identify the terrain of this augmented space, so that one might approach it in an enlightened manner.

Another critique view

This is where the art critic steps in. Having chosen as a starting point the “accomplice critic” method – which reacts in form and content to artistic stakes, follows the artist’s rationale, research and conclusions, while thinking about the conditions of their possibility – I asked myself the question what the best form would be form in order to answer a digital artwork already created on a tactile screen. Very soon, it became obvious that the critical ability to transcribe a visual experience was no longer enough. The text had to be conceived of differently – as code and as image – in order to engage with what it was that the tool – i.e., the tablet – makes available. The Flatland project intellectually and manually challenges the art critic’s faculties. New roads open up to use such an apparatus, such as for example the introduction of quotes to orient reading towards other material, to open the space around the text and make it dynamic. New forms of the critic’s work emerge as a consequence, conscious of the stakes associated to these devices. As digital publications emerge, the critic’s old substrates – the book, the catalogue, the art review – are reconsidered.

One of the reasons behind Flatland lies in a practice that raises questions regarding substance while using tools that are codified by the industry; that is confronted with the reality of the screen that opens both the gaze and the field of action onto new fields; in short, one that contributes to pushing back the frontiers of the imagination.


Research and digital catalogue, codir. w. J-François Robardet, 2014

Catalogue, 2014
Edited by Thierry Fournier and Jean-François Robardet, published by Ensad Nancy & Pandore Édition, distributed by Art Book Magazine 2014.

Catalogue dedicated to the artists graduated of the Nancy superior art college (Ensa Nancy) between 1988 et 2011: Marion Auburtin, Jean Bedez, Thomas Bellot, Etienne Boulanger, Thomas Braichet, Morgane Britscher, Emilie Brout & Maxime Marion, Dominique Cunin, Cristina Escobar, Elise Franck, Caroline Froissart, Virginie Fuhrmann, Jochen Gerner, Jérémy Gobé, Marco Godinho, Sébastien Gouju, Harold Guérin, Sylvie Guillaume, Paul Heintz, Simon Hitziger, Victor Hussenot, Marie Husson, Guillaume Janot, Marie Jouglet, Yonsoo Kang, Geoffrey Kayser, Benjamin Laurent Aman, Sophie Lecuyer, Heewon Lee, Aurélia Lucchesi, Mayumi Okura, Cécile Paris, Dominique Petitgand, Emmanuelle Potier, Victor Rares, Jean-François Robardet, Vivien Roussel, Aïda Salahovic, Emilie Salquèbre, Atsuki Takamoto, Sarah Vaxelaire.

Foreword by Christian Debize (Ensa Nancy chairman) and critical text by Leonor Nuridsany (art critic and curator). Ceonceived and realized with the studiens of the Coedition research and creation workshop (Ensa Nancy / Artem), directed by Thierry Fournier and Jean-François Robardet.


A catalog designed for tablets

The research and creation workshop Coedition at the National College of Art of Nancy explores since several years digital art practices, in multiple forms: works, curating and performing arts. Its projects have been showed at Ballet de Lorraine, CITU, Nancy Museum of Fine Arts, Contexts (Paris), CNES Chartreuse Villeneuve-les-Avignon, Tunis Choreographic Festival, NaMiMa Nancy, etc. Its 2013 project was Co-edition, the first digital catalogue for iPad published in Ensa Nancy.

Alum is the first catalog ever published about the visual artists graduated of Ensa Nancy. Designed for tablets, the project grasps the very characteristics of this medium: cover as an index, very large pages dedicated to each artist allowing multiple relationships between their elements, multimedia, etc. The project was designed and built under the guidance of artists coordinators by the students of École des Mines (Nancy Engineering School), ICN Business School and Ensa Nancy Art College, who participated in the entire design process and realization of the publication.

Alum brings together the work of forty-two artists, spotted by the school and / or having answered to a call for participation launched in late 2013. Each one of them proposed a biography, a series of images or videos and – for some of them – a critical text about their work.







Research project – Ensad / EnsadLab, 2012

Research project – Ensad / EnsadLab – Diip program, 2012
Led by Thierry Fournier
Team: Clémence Homer, Tomek Jarolim, Dominique Peysson, Benoit Verjat.

Umwelt is a project about mixed-media note taking (HD manuscript, keyboard, drawing, hypermedia, tags …) to be used in all types of environments: travel, scouting, rehearsals, design or work sessions, and architecture design, fashion, comments, field work in social sciences, musical notation, etc. It is therefore aimed as much for professional use and private, general or specialized, documentary or fictional. It is based on several dimensions: handwritten practice, structuring memory, environmental integration, interoperability.

Pandore special issue – Juliette Fontaine

publication, 2003

Special issue #1 of the Pandore magazine – 2003

The work of Juliette Fontaine gathers several domains: drawing, films, performances, installations, sound pieces. She has participated to Pandore since the beginning: Worstward Hô, sound piece written after a Samuel Beckett’s text, was published with the issue #2.

Listen to the album:

La Folie du coucou


Alice chez le chat Balthus

Alice rit

It’s my name

Alice and the rabbit hole

(Juliette Fontaine / Thierry Fournier)

Poèmes respirés


Fenêtre sur et seuil
(texte Juliette Fontaine / sample Frédéric Darricades / voix Catherine Jackson)

Petites épilepsies illusoires – They come

Petites épilepsies illusoires – Elles viennent

Petites épilepsies illusoires – Il n’y a rien

Petites épilepsies illusoires – Que ferais-je sans ce monde sans visage

Petites épilepsies illusoires – Chant triste

Petites épilepsies illusoires – It’s different and the same

Petites épilepsies illusoires – The absence of love

Petites épilepsies illusoires – Elles viennent autres

La Chant des baleines

Other issues of Pandore: #0 to #4 | #6 and #7 | #8 | #9


curatorial project and audio magazine, 1997-2004

Curatorial project and audio magazine, 1997-2004

Nine issues have been published between 1997 and 2004. It proposed to a wide range of authors (artists, writers, scientists, film and stage directors, musicians or composers, journalists, etc.) to communicate a sound recording in relationship with their current work and/or preoccupations. All the recordings are edited one after the other, in the chronological order of their arrival, without any cut, remix or reordering. Pandore published also a special issue dedicated to the sound works of the visual artist and author Juliette Fontaine.

Listen to extracts of the 9 issues : issues #0 to #5 | issues #6 and #7 | issue #8 | issue #9 | Special issue Juliette Fontaine

Interview of Thierry Fournier by Arnaud Laporte, France Culture (Multipistes program), April 24th, 2003 (in french):

Trailer (1998):