Azimuts / 60

Number 60 of reflects on the concept of composite as a way of representing and constructing reality through the union of heterogeneous elements held together by a glue that can be invisible or visible and which in turn becomes a space of transition or rupture relationship also inspired by the thought of Édouard Glissant the magazine therefore explores composite not only as a material but as an artistic and design theoretical practice showing how it can take forms different from the baroque of creative stratifications to the web understood as an original and also political structure to be defended from standardization passing through the european banknotes seen as symbolic assemblages that build a common identity to the sculpture that collects material and affective fragments in space and research on data that are reorganized to produce new meanings the composite also becomes fragmentation and reconstruction according to a logic of practical mosaic ecological linked to sampling and conservation narrative of stratified spaces and objects but also critical reflection on toxic materials and industrial processes up to the use of concrete poetry as a system of connection between forms and wool interpreted as composite material loaded with natural social and economic implications overall the issue proposes the composite as a way of thinking about the world based on the relationship between fragments on the construction of ties and on the continuous transformation of meanings

 

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Azimuts is a design research journal founded in 1991 by the student-researchers of the post-graduate program of the École supérieure d'art et design de Saint-Étienne. A unique publication in the design editorial landscape, the journal is a place for reflection, exchange, and criticism on the issues of contemporary design and art, as well as a field for experimentation and graphic and typographic research.
Azimuts magazine gathers the points of view of personalities from the world of design, culture and research in general. The issues are organized around thematic dossiers on design and, more generally, on material culture or its criticism. The "Varia" section welcomes contributions that are not part of the dossier, and the "Anthology" section allows readers to discover or rediscover texts and documents that are difficult to access (out of print or never translated into French). The "Reviews" section is a space for free criticism of current research and publications on design in the field.