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Throughout the exhibition Metro-sized posters, mostly for art, literature and theatre clients (although he shows work done for Yves Saint Laurent and Hermès) dominate the walls. Later on in the exhibition is one poster each of April Greiman and Wim Crouwel who significantly influenced his design. Philippe Apeloigs Design career began in 1985 at the Muse dOrsay when he designed the poster. They also underscore the rationale for why his custom type is both sculptural and balletic. Tino Grasss Typorama: The Graphic Work Of Philippe Apeloig. The inclusion of these short films is meant as an autobiographical background for the subtle visual culture clashes that pervade Apeloig’s work. From the entrance, a wall-size video animating the construction and deconstruction of the exhibition logo from simple abstract marks to comprehensible letters, ‘Typorama’ is an exuberant multimedia display that follows Apeloig’s Modernist typographical beginnings through bouts of postmodern experimentation and idiosyncratic contemporary manifestation.Įssentially chronological and decidedly didactic, the large space with multiple galleries opens with a selection of brief video clips showing personal influences and inspirations – including a vintage loop of his Polish family’s shtetl before it was destroyed by the Nazis, a scene from Federico Fellini’s 8½ with a procession of eclectic characters and a curiously haunting gestural dance by Pina Bausch, the erotic Kontakthof.