My research in esthetics questions the reading of archival material once a database isn't designed as a tool for research, but as a means of an esthetic experience, while still working through indexation. This implies an absence of narrative that most artistic experiments around archive relied on, questioning at the same time what writing history meant: so what remains of the archive on screen when no narrative is sollicited?
This path leads us to departing the archive of the ideology that created it, but also to unveiling the transparency of the screen, in the same movement: what remains is the technical and therefore, material aspect of both of them. Our problem is then to reconcile the inner logics of technicity with an interactive experience of trace: in this perspective, not only is it necessary to ponder on the specific spaces created to display databases, it is also primordial to question what kind of duration these spaces provide. The term "user" is no longer appropriate: as the interaction doesn't rely on the usual association action/reaction, but on a new kind of motion, through wich the nature of the archival content becomes self-explainatory.
This research project in graphic design questions the way we show archival resources online.
If we take a look at the recent governmental applications, we notice that in 2013, the OpenData circulatory was adopted in Europe: this one led to the massive creation of websites offering databases and graphics, showing anything related to the public domain in a pseudo ultra-transparency – including archives. The aim of this project was to reconsider the analytic point of view of the database, and try to show a specific point of view on an archival fonds. This statement led to the creation of a «virtual exhibition» of the archives related to the three stagings of Electra by the French stage-setter Antoine Vitez: the event of the performance being lost, the issue was to create another kind of experience, which would be more related to the notion of historicity. This could be antithetic with the support, here a website; it takes form through extractions of manuscripts, videos, photographs inserted in the text of the antic play, playing on the materiality of the archival ressources and the historical imaginary that surrounds them.
This project is made in partnership with Imec—Institute for Memory of Contemporary Edition, Caen. It was presented at the ANRT, Nancy the 19/03/2018 and at the Paris office of Imec the 8/06/2018.
The goal of this thesis was to explore the notion of "graphisme d'auteur" in the transmission of patrimonial content such as literary classics. While confronting the problem of transmission with the emergence of thenartist as a genius, the aim was to think of a graphic design ethic towards creation and transmission.
You can also find it at the CELSA library — École des Hautes Études en Sciences de l'information et de la communication.
"Archive et détermination technique: le bug comme dépense", contribution to the international colloquium "When the Interface Slips Away", 26/11/2019, Université Paris 8 / Archives Nationales.
"Des transformations médiatiques des œuvres" in Vikhi Vahavek: biographie d'une artiste très professionnelle, édition Les Commissaires Anonymes, 2020.
"Le design graphique au prisme de la transcréation", revue Appareil [online], to be published.
""Stables et artificielles": les archives en ligne à travers le travail de Hanne Darboven", in Revue Proteus, no 17, esthétique et politique de l’archive en art, Cyrielle Lévêque et Mélodie Marull (coord.), 2021, p. 106-117.
"Visible language ou des mobilités du texte", contribution to the 13th editionn of the Printemps de la Typographie, 2022.
Gabriele Cepulyte is a graphic designer, type designer and researcher based in Paris, France. Her work ranges from visual identity, editorial design, signage to web design. She also teaches history and theory of graphic design. Her research deals with the esthetics of archive at the age of the screen.
(+33)6 80 48 73 51
If you want to buy a font, please send an e-mail to contact[at]gabriele-cepulyte.com. If you want to try one, ask for a demo version.
04/2019 - 06/2019
05/2018 - 06/2018
04/2016 - 09/2016
internship at Teschner - Sturacci
03/2013 - 06/2013
internship at Bolo Paper, Milano, Italy
Graphic Design culture, ECV Paris, France
History of Graphic Design, ÉSAD Amiens, France
Arts & Design Culture, ÉSAA Duperré, Paris, France
Des mobilités du livre: circulation, étapes et variations d'un livre informe, ÉSAM Caen, France
Sampling: turning back time at the age of the screen, ESAL Metz, France
Hors jeu, ESAD Nancy, France
Regulatory set, with Anne-Sarah Huet at ESAAA Annecy, France
2017 - …
PhD fellow in Esthetics
Nanterre University, Paris
National Atelier for Typographic Design
Master's degree in Media Studies
CELSA, Paris IV
Master's degree in Type Design
école Estienne, Paris
Bachelor's degree in Graphic Design
école Duperré, Paris
Le Fantôme des Nuisances, journal et support à l'exposition "Les Nuits hantées", inspirée par l'Encyclopédie des Nuisances de Jaime Semprun et présentée à la Box à Bourges en janvier 2020
édition Les Commissaires Anonymes
Questionnaire élémentaire, Sonia Chiambretto & Yoann Thommerel, 2017
édition Les Laboratoires d'Aubervilliers / g.i.g.
Master's dissertation, Électre, 2018
Brochure "Qu'est-ce que tu racontes?" for the residency of Christine Jeanney at Imec, Caen, 2019
Visual identity for the Groupe d'information sur les ghettos, 2016
Extended latin typeface
Extended latin typeface
Extended latin typeface
Poster designed as illustration for an article I wrote in
Vikhi Vahavek: biographie d'une artiste très professionnelle,
éditions Les Commissaires Anonymes, 2020.
Call for applications poster for the ANRT, Nancy, France , 2017
Specimen poster for the type Nicostrate, by Martin Violette, 2017
Poster for the workshop "En boucle" at ÉSAL Metz, France, 2019
Prototype of a virtual exhibition for the archives of Électre, staged by Antoine Vitez, 2018
in association with IMEC, Institut Mémoire de l'Édition Contemporaine