REVUE RECALL

THE MAGAZINE Revue RECALL is a collaborative magazine where archival image-documents and contemporary creators meet. In a circular movement, it questions the way images, perspectives and disciplines intersect. Founded by Anatole Rassu, Beatrix Johnstone Kühnert & Matthias Valigny Sabbagha in 2020, and with a release of issue 0 planned for April 2023, each issue of the magazine is built around a theme, with a series of editorials that interrogate it and a corpus of image-documents that echo it. la salle de bain, pp.90-91 A photography, art and fashion magazine, RECALL questions the source of editorial projects: the images and texts they are made of. This iconographic research suggests the invisible links that exist between forms. The content it generates ranges from pastiche to abstraction. The corpus, to which anyone can add their own references, makes explicit what is expected of us when one reads an image: the genealogies and the fictions it comprises. RECALL seeks to create a platform that sets itself apart from individual practices. It is an object that is produced over time, more open to collaboration and circulation. By sponsoring RECALL magazine, you are also helping a collective of artists that take part in an emerging art scene and promoting an independent publication. Revue RECALL is a prospective space that aims to be not only a form of laboratory, where one could meet and debate, but also a place for documentation and research. le dressing, pp.108-109 THE TEAM Revue RECALL was initiated by Anatole Rassu, Beatrix Johnstone Kühnert and Matthias Valigny Sabbagha during their studies. In addition to being the creative directors of the magazine, Anatole Rassu is also in charge of the photographic direction and the duo Beatrix Johnstone Kühnert & Matthias Valigny Sabbagha is in charge of the editorial direction. Since 2021, the graphic designer Jade Randon joined the magazine as art director. Anatole Rassu is a photographer who graduated from Auguste Renoir and then from the École Duperré Paris in 2022. He developed a particular sensitivity to light that led him to practice analog photography and assist photographers like Boris Ovini or Valentin Herfray. His first series, Places (2015-2022), and it’s eponymous book borders art and documentary. Beatrix Johnstone Kühnert & Matthias Valigny Sabbagha are both graduates of a master's degree in image, media and editorial content at the École Duperré Paris. They have been developing their practice as visual artists and producing installations and editions together since 2020. In parallel, they are also involved in editorial direction and iconographic research. After having worked in the field of fashion, their experiences have led them into that of contemporary art (Pernod-Ricard Foundation, Lafayette Anticipations). Jade Randon is a graphic designer and art director, specialized in editorial design in the fields of contemporary art, culture and fashion. She assisted the graphic design studio Building Paris and then worked alongside the artistic director Alice Gavin, accompanying her on projects for the Ballet national de Marseille dir.(LA)HORDE, Jean Boîte Éditions, the Lafayette Anticipations Foundation... THE MANIFESTO RECALL is a cross between a fashion magazine and an art book. RECALL is a memoir. RECALL draws on a corpus of image-documents that haunt the publications: film scenes, paintings, photographs, novels, soundtracks... RECALL focuses on the fictional dimension of fashion, like a tribute to the stories that shape our images. RECALL is a platform where reminiscences and contemporary creators meet. RECALL questions the modes of production of images. RECALL is not a historical journal but a collection of memories contaminated by pre-existing images. THE OBJECT "(…) Entrée, salon, salle à manger... Les pièces s’emboîtent les unes dans les autres. Un appartement est une trame qui est sans cesse jouée et déjouée. Ce tissage d’espaces est aussi un entrelacs d’objets, de matières, de couleurs et de textures. Plus qu’un décor, un appartement est le recueil de nos empreintes. C’est le lieu de nos rituels, de nos actions les plus banales mais aussi de nos bouleversements les plus intimes. Les surfaces sensibles de notre quotidien deviennent des mémoires où nous formons nos récits, nos perceptions et nos sensations. On pense parfois avoir habité dans des appartements sans jamais y avoir mis un pied. Il y en a d’autres, au contraire, dans lesquels nous avons vécu et dont nous nous souvenons à peine. (…)" . Extract from the editorial of issue 0 Anatole Rassu, Beatrix Johnstone Kühnert and Matthias Valigny Sabbagha la fenêtre, pp.134-135 CONTRIBUTIONS Agathe Jouanneaux, Alma Libera, Anna Etzrodt Laporte-Roy, Antoine Seiter, Ayamé Cefelman, Beatrice Bonino, Benjamin Vansteenberghe, Charlotte Fourneuf-Niel, Clara Ziegler, Diane Gaignoux, Ella Khalilzad, Elvira Tiaou, Estelle Hanania, Esther Deboaisne, Fiasco Club, Flore Lorente, Gaspar Willmann, Héloise Beraud, Héloïse Bouchot, Izarrin Pineiro, Jade Randon, Jules Paillet, Kai Ming Wong, Kenny Taurus, Mathilde Vallantin-Dulac, Marius Leperck, Mirabelle Perot, Noemi Leneman, Nour Capdepon, Pauline d'Andigné, Raika Hazanavicius, Rémi Sourice, Sidonie Ronfard, Sully Braq, Thomas Néaume, Thyrse, Salomé Hallensleben, Salomé Perroton, Shaskia Arifia, Tom Goetz, Vitaliy Mysyk, William Gane, Zoé Mercier la chambre 2, pp.138-139 ISSUE 0: THE APARTMENT In the form of a fictitious scenario, each editorial of issue 0 takes hold of a room of the apartment: a disturbing entrance, a "take-away" office, a Last Supper with 13 contemporary creators, a teenager's room where mysterious creatures come to life or living rooms from which one wants to escape... Then follows the corpus of images that have shaped these imaginary apartments. From one series to the next, the reader is invited to lose himself in the maze of these rooms and to weave his own links. These 192 pages will be printed in Belgium by Paperland: RECALL was created first and foremost out of a desire to make a printed object which, through its form and composition, tries to capture the nature of the images displayed and to grant them the materiality they call for. la chambre 2, pp. 148-149