Quentin Lamouroux

11 — Water

In the last past genocidal months, I’ve been struggling with posting anything to do with my work. Watching an incredible amount of violence (and silence) + having an existential crisis every few hours has become a daily routine.

As I am derooting myself from the old world, cultivating new soils, connecting with forests full of trees, reframing my practice and trying my best to raise my voice; I slowly feel the legitimate space to talk about what I do again.

Here is a collaboration with Castélie Yalombo for Water, l'atterée des eaux vives : a performance evoking the difficult ambivalence of bodies caught in a vice of frictions and tensions that occur between categories of belongings.

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Textile design ✄ | Images collected from various colonial books & archives

10 — EXPOSÉ·ES

The exhibition engages quite literally with the Elisabeth Lebovici’s book Ce que le sida m’a fait. Art et activisme à la fin du XXe siècle [What AIDS Did to Me – Art and Activism at the End of the 20th Century] : what the AIDS epidemic does to artists, and what it does to an exhibition today. How it changes consciousness, society, creation. AIDS is here not a subject but rather as an interpretative grid through which to reconsider a broad range of artistic practices that were exposed to the epidemic.

Exposé·es: people did not choose to be exposed to a virus, an illness, an epidemic; people did choose to be exposed in order to make visible this virus, this illness, this epidemic. Amongst these people were artists. Amongst these viruses, these illnesses, was HIV/AIDS, which caused the deadliest epidemic of the past century and of the present one.

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Typography ✎ | Homoneta in use | Palais de Tokyo | Curation : François Piron | Graphic design : Roxanne Maillet

09 — BBB Open Sans

BBB Open Sans is the inclusive / non-binary version of Open Sans (by Steve Matteson) designed for Les Halles de Schaerbeek Theater, available on Bye Bye Binary fonts library.

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Typography ✎ | In collaboration with Clara Sambot & Camille Circlude

08 — Chevaline

In 2016, while researching on Brussels culinary heritage, Christophe Hardiquest included a horse tartare in his menu (Le Bon Bon, two Michelin star). This choice – unusual in a house of haute cuisine, earned the chef comments from some of his customers who were surprised by such dish on the menu.

These reactions are at the origin of this book. The author, René Sépul - gastronomic journalist - met Geert Vermeire - the last horse butcher in Brussels - who told him his story and got him in touch with horse dealers and horse meat wholesalers. Some families he met are the world reference for this trade.

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Editorial ⿻ | 220 × 260 mm | 172 pages | Fonts in use : Autopia, Charter & Lunchtype | Sh-Op Editions

07 — BBB Karrik

Pink·green·red anthuriums & the inclusive glyphs - designed with Clara Sambot for La Balsamine Theater - casually sunbathing. BBB-Karrik is the non-binary version of Karrik (by Jean-Baptiste Morizot & Lucas Le Bihan), available on Bye Bye Binary fonts library.

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Typography ✎ | In collaboration with Clara Sambot | Visual identity : Kidnap Your Dsigner

06 — La Cucina da Gianni

In 1947, Belgium and Italy signed the “coal agreements”. Hundreds of Italians emigrate to Belgium to become miners. These migrants, mostly sons of farmers, come from the poorest regions of Italy devastated by war. The fiancée, the wife and the child(ren) joined them a few months later.

Originally from Lercara Friddi (Sicily), the Carusos settled around Liège. Ten years after his arrival, Joseph Caruso, the eldest son of the family, was hired at the age of 13 at Dottore, one of the first Italian restaurants in the Cité Ardente.

After working in most Italian restaurants in the center of Liège, he opened the Friterie Caruso, in Thier-à-Liège, where he offers popular Italian and Belgian dishes. Next comes a catering service for weddings and communions of compatriots, then the Restaurant Caruso, in Droixhe, a family brasserie where he serves Italian-Belgian cuisine with his wife Josée, also from Lercara.

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Editorial ⿻ | 200 × 280 mm | 232 pages | Font in use : Lunchtype (Steppdot) |Sh-Op Editions.

05 — www.zenner.berlin

Zenner not only sees itself as a curated, cultural institution but also a one-of-a-kind event space, nightclub, beer garden, wine garden, and last but not least, an organic ice cream parlor all housed under one, breathtaking roof.

Their nearly 100-members team is in the process of redeveloping this aged but historic, gastronomic landmark into a progressive as well as inclusive venue for live shows, club nights, reimagined beer and wine garden culture, and corporate events.This new Zenner stands for fresh thinking, eco-friendly action, fair working conditions, practiced gender diversity, and mindful cooperation.

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Web ⌘ | DA : Ivo Wojcik | Coding : Louise Picot | UI & UX Design : Quentin Lamouroux

04 — www.anneleenbertels

Anneleen Bertels is a Belgian textile creator. In her textile & embroidery Lab she researches innovative and contemporary craftsmanship by merging textile, embroidery & jewelry techniques.

As a textile creator Anneleen Bertels is fascinated by how the development of new (sustainable) materials and innovative technologies interacts and clashes with traditional crafts and techniques. And how this could shape unexpected, new forms and textures for a more sustainable and precious future.

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Web ⌘ | Coding : Louise Picot | Fonts in use : Verily Mono, Times New Roman, Helvetica

03 — Une histoire belge

In the early 2000s, three friends, Raymond Leroy, Joël Hugé and Michel Wanty, decided to create a vineyard. Passionate about wine, Raymond convinces his companions to plant vines in Haulchin (Belgium). He spotted a land called “Les Agaises”, which he considers suitable for growing Chardonnay, the king of Champagne grapes.

Twenty years later, with more than thirty hectares in production, Les Agaises is the largest vineyard in Belgium - producing the Ruffus, served on the finest tables in the country.

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Editorial ⿻ | 210 × 265 mm | 360 pages | Fonts in use : Feijoa & Honoka Mincho | Sh-Op Editions

02 — Homoneta

Produced as part of Homoneta, Sytème de Confiance & Croyance , Et Homo créa la Matière is the result of a research on money seen through the prism of myth. This edition is a free adaptation & reappropriation of La Bible de Jerusalem (La Sainte Bible, Nouvelle edition, Éditions du Cerf, Paris 1973, Desclée Brouwer, Paris 1975) which fully reproduces The book of Genesis in a new edition - written in inclusive & non-binary way - to which is integrated an unpublished chapter apprehending the myth of money through a new iconic character: Homo.

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Typography ✎ | 115 × 165 mm | 80 pages | Font in use : Homoneta

01 — Sika n°1

Sika is a space of multiple words and writings where the vocabularies of contemporary artistic creation intersect with the movements of postcolonial thought. Born of the conviction that our globalised world cannot be understood without addressing the historical and asymmetrical relations of power that underlie it, sika proposes to take stock of it from Brussels, a world-city inserted in the networks of colonial history and European political construction.

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Editorial ⿻ | 29 × 44 cm | 24 pages | Fonts in use : Swiss & Libre Caslon. Design in collaboration with Ayoh Kré Duchâtelet | Curated and edited by Estelle Lecaille for mòsso & Ayoh Kré Duchâtelet http://www.editionsika.be/