Artist: Xavier Bermudez Mexican
Title: Nouveau Salon des cent, Hommage a Toulouse-Lautrec.
Plate: HL. 06
from "Nouveau Salon des Cent" portfolio. Limited printing of only 380.
Printed in Paris, 2001.
unbacked, shipped rolled via Fedex.
Certificate of Authenticity.
Sheet Size: 29 in x 38 1/2 in 68 x 98cm
The "Nouveau Salon des Cent" portfolio consists of a hundred posters created by one hundred of the best graphic designers of our time, from 24 different countries including China, Japan, Mexico, Brazil, Zimbabwe, the United-States and most of the European countries, as a tribute to Henri de Toulouse-Lautrec, for the Centenary of his death, 1901-2001. Initiated by the Toulouse-Lautrec Museum Partners' Club. In cooperation with the Toulouse-Lautrec Museum of Albi. The printing was limited to only 380. The posters have been exhibited in major museums and galleries around the world.
The Designer - Xavier Bermudez
Born in Mexico City, 1953. Graphic designer and musician. He studied graphic design at the Universidad Autonoma Metropolitana (UAM) in Mexico, and at the Scuola Politecnica di Design in Milan, Italy. He studied music at the Conservatory Giuseppe Verdi with Glauco Camburzano.
He has been professor in different Universities of Mexico, Spain, Canada and Argentina. In 1977, he founded Troje Taller, in 1987 the magazine Via Libre, in 1989 Trama Visual A.C., in 1990 the International Biennale of the Poster in Mexico and in 1997 the magazine Ludica. His work has been published in specialized international magazines. Jury member of the 'Colorado Invitation Poster Exhibition 1993' USA, and of the 'Stage Poster Triennial' in 1996 at Sofia, Bulgaria. Since 1992 he participates in relevant international design exhibitions and collections. Nowadays, he works in his studio 'Matatena Visual', and runs the International Biennale of the Poster in Mexico.
'In principle, for me design continues being a fundamental tool for human cohabitation. It organizes, facilitates, orients, optimizes and educates. Design isn't neither fashion nor style. It is concepts and application of our own language in a graphic form. It doesn't worry me to hang on the new technologies, but rather to find new design applications. So, to design a biennale,
an exhibition or a logotype has no difference in its basic principle. Nowadays, new generations mistakenly believe that they are creating something totally new, when I personally believe that graphic design is the second oldest practice after procreation. Concerning this matter, we must open a healthy discussion about the future of our practice, helping this young people to learn the difference between what is design and what is not design. We should worry much more about keeping the good design principles.'