In 1793, Jean-Charles Remond created in Paris at 15 Rue Saint-Jacques, a atelier of printing size-douce. This workshop will be one of the five establishments to be chosen by Napoleon to print the monumental description of Egypt. The workshop preserves events of that time.
In 1880, Alfred Salmon, who took over the Remondi workshop, installed and reorganized the new workshop at 187 rue Saint-Jacques. This model workshop will remain at this address until 2008.
In 1894, Alfred Porcabeuf succeeded Salmon, his grandfather. He will lead the workshop until 1946. The workshop will be closed from 1939 to 1945.
In 1946, Georges Leblanc succeeded Porcabeuf in 1962 and welcomed Pierre Lallier as an apprentice.
In 1968, Maurice Lallier and his children, Pierre, Marie-Claire and Françoise, resumed the workshop. Pierre Lallier, his son will lead him brilliantly for 40 years.
In 2008, following a notice of eviction, the workshop must leave the historic premises of rue Saint-Jacques. Didier Mutel, who has been a trainee, apprentice and pupil of Pierre Lallier since 1988, takes over part of the presses and historical material dating from the eighteenth and nineteenth centuries.
On 30 May 2014 Pierre Lallier and Didier Mutel officially re-open the workshop in Orchamps in the Jura, continuing the history of the oldest engraving and printing studio in France.
Today the Atelier Didier Mutel represents a unique historical, cultural and artistic heritage, but also a history and know-how of very high level. This sensitive and magical place is recognized in France and abroad. The workshop specializes in the engraving and printing of original prints and artists ' books. Engravings in relief or in hollow, from conception to realization, the workshop combines traditional techniques with contemporary techniques. The Atelier Didier Mutel wants to reopen the scope of artistic creation in engraving and is always ready to face new challenges.
A member of the major Ateliers de France, Didier Mutel was named "Master of Art" by Aurélie Filipetti, Minister of Cuture on 15 November 2013.
Born in 1971 Didier Mutel was very young fascinated, attracted by drawing and then engraving. Graduate of the Ecole Supérieure Estienne of the Ecole National supérieure of decorative Arts of Paris He continues his course at the National workshop of Creation typographic by investing the field of the Book of artist, traditional technical processes and Their reaffirmation in the space of contemporary creation.
Through a personal engraving practice it raises questions such as: what sense, what validity has an ancestral technique today? What does it mean to burn? Why, how? Beyond a formal contemplation, how to project and create links between these secular techniques and the contemporary world, what is the validity of this action? What new perspectives can be developed? This re-initialization must allow to redefine new processes of operation and new aesthetic paradigms in the field of engraving.
A member of the major Ateliers de France, Didier Mutel has been teaching at the Higher Institute of Fine Arts in Besançon since 2003 and is regularly invited by American universities to give lectures. He was appointed Master of Art in November 2013.
Grand Prix of the art crafts of the city of Paris
Walter Tiemann Prize, Leipzig, Germany
Resident at the Villa Medici from 1997 to 1999
Appointed Maître d'art by Aurélie Filipetti in November 2013
The Atelier Didier Mutel is part of the Association of major workshops
Prize for the intelligence of the hand of the foundation Schueller Bettencourt, category exceptional talents.
Getty Museum, Los Angeles
Ludwig Museum, Köln
National Library of Scotland
Rijk Bibliotheek, The Hague
Columbia University, New York
Yale University, New Haven
Harvard University, Cambridge
Stanford University, Palo Alto
UCLA, Los Angeles
Library of Congress, Washington
Columbia University, New York 2009
Yale University, New Haven 2009
Stanford University, Palo Alto 2015
Berkeley University, Codex Book fair, San Francisco2011
UCLA, Los Angeles, 2013
University of Miami, Miami 2014
Smith College, 2012
Hammerst College 2011, 2013, 2014
National Symposium of Crafts, Saint Quentin, 2014 and 2016
Art crafts with open words, INMA and Museum of Decorative arts, Feb. 2014
1986/1991 Ecole supérieure Estienne.
1991/1993 National College of Decorative Arts of Paris ENSAD
1993/1995 National Typographical Creation Workshop, presentation in New York
1995/1997 officially joined Pierre Lallier who has just been appointed Master of art.
1997/1999 Boarding house at the Villa Medici in Rome
1999/2008 created its 3rd engraving workshop and is close to Pierre Lallier
2008 The Atelier Georges Leblanc closes and Pierre Lallier transmits to Didier Mutel a part of the historical material.
2009 purchase of a large local in the Jura, at Orchamps, beginning of the relocation of the historical workshop.
2013 appointed maître d'art by Aurélie Filipetti, Minister of Culture official reopening of the workshop
2016 receives the Bettencourt Schueller Foundation Award for Hand Intelligence in the exceptional Talent category
1989 Three Zagawas Tales
1992 Letter from an unknown
1994 "Jekyll and Hyde" and "Jekyll and Hyde"
1996 The Metamorphosis
1997 Thirteen Ways to Look at a Blackbird
1999 Mummy Mummies
2001 the murmur, Condition and fate of the artist
2002 Alice's Adventures in Wonderland
2004 Through The Looking Glass
2003/2005 a shot of the dice
2004/2010 Outside Project
2009 The Forbes Simulachres
2010 My Way I
2011 The 7th Heavens of Revelation
2012 Description of Egypt
2013/2014 My Way II
2016 Atlas of the United states of Acid
2018 Primer Atlas de los Estados Unidos di Mexicacidos
20 October 2018/20 January 2019Sigmund Freud and Aspects of Psychoanalysis in contemporary book ArtCollective show, Center for book Arts, San Francisco, USAPrésentation de Gradiva, artist book published in Rome in 1999texte Andrea Dotti, engravings, typography , printing, bookbinding, Didier Mutel
13-15 April 2108 Old and modern book fair, Grand Palais, Paris, FrancePrésentation de First Atlas of the United states of AcidPrésentation de: Primer Atlas de los Estados Unidos di Mexicacidos
19-26 Mai 2018Mexicò City, Mexiqueprésentation de primer Atlas de los Estados Unidos di Mexicacidos
19 Janvier 2018 / 17 Mars 2018ALIVE AND WELL WITH ACIDBank Gallery Projects, Gent, BelgiqueExposition solo
20 Novembre 2017 / 04 Mars 2018The Art of Reading. From William Kentridge to Wikipedia.
au Meermanno Museum, La Haye, NL.
Exposition collective. Présentation de My way II
23 Novembre 2017 / 16 Décembre 2017Maggs bros, Londonprésentation de Rosetta et d'autres projets. (Estampes et livres d’artistes)
The roots of etching can be traced to the early days of man. In caves, people engraved images on the walls of places now hidden. Decrypting this code is nearly impossible today, but this doesn’t deter from the incredible artistic demonstrations presented on the cave walls. Thousands of incredible artistic accomplishments exist in caves like “Combarelle” in Dordogne, France, showing that mankind has always been driven to create, to duplicate, to demonstrate power, laws, and love. In this way, engraving has been a constant manifestation of the human struggle.
In 1452, a goldsmith named Maso Finiguerra found a way to print multiples from an engraved plate, around the same time Gutenberg printed his Bible. Printing spread new knowledge to the Western world through the transmission of books. In the 19th and 20th centuries, with the Industrial Revolution and the advent of digital processes along with impending computer domination, engraving lost its powerful place in the world of printed mass media. Even so, contemporary artists continue to use this technique due to its endless creative potential.
In 1793, during the French Revolution, an atelier was formed that would traverse the ages and become mine. Since then has been an important place for etching in France. It was located in the heart of Paris until its eviction in 2008.
Even then, with my inheritance of a great collection of presses, tools,
and history, I believed that the atelier could continue through
reestablishment. It is now the last surviving atelier from the 18th century. By
continuing the atelier in a new location and pushing the boundaries of the field of etching, I am trying to answer crucial questions for our time. What is the meaning of engraving today?
Can this technique reassert itself in the contemporary artistic field?
How can new perspectives be re-imagined from an ancient medium?
Who is the audience? Who is the creator?
Is it possible to link cutting-edge technology and techniques of the past?
How can engravings become a part of contemporary culture?
Is the best form for this the artist book?
The acid brut manifesto is the affirmation of a new point of view.
42, rue de la Libération
39700, Orchamps (FR)
184, rue de Crimée
75019, Paris (FR)
(00) (33) 06 84 15 90 18