The three founders of Red Lebanese met at school when they were young, they actually are still quite young and have been publishing together since 2012 when they started studying art.
They chose the name Red Lebanese after tasting the best hash from Lebanon. Their work is a great example of how the act of editing and publishing becomes an artistic practice for artists publishers, and how the pages of their publications therefore become a place for experimentation just like a studio space. It is not surprising then to hear that those three deserted their art school, prefering the murmurs of their printers to the ambiance of the collective studios of the École des Beaux-Arts.
Pablo Jomaron, Thomas Brun and Quentin Leroy started publishing when they bought a Riso printer they found on Le Bon Coin, the French equivalent of Craig’s List. But instead of using the extraordinary characteristic of the Riso to make flashy colorful publications they only ever put black ink in their machine.

Having too much respect for the history of graffiti, they do not consider their tagging activities as part of their artistic practice, but more like a hobby. They don’t see any contradiction in filling their zines with photographs of their mischiefs though. Their publications somehow have a “lifestyle” aspect, showing pictures of their everyday life taken either by friends or by themselves.
It is only natural then that the music that accompanies them in their life is a key element of their publishing activities. Indeed, Red Lebanese also issues mixtapes on good old audio cassettes, so go get your tape recorder and listen to their hip hop and house mixes. The result is a multiplicity of zines and books full of youthful energy and refreshing naiveté. One could wonder where all this is going, but who cares? The zines of Red Lebanese have this kind of intelligence and authenticity that is really scarce.

 

Thomas Brun, Super-Lift, Paris, Red Lebanese, no date, 28 pp., A5 format, Riso print.

Anonymous, [No title], Paris, Red Lebanese, no date, 32 pp., A5 format, Riso print.

Thomas Brun & Pablo Jomaron, Attraction Clientèle, Paris, Red Lebanese, 2013, 36 pp., A5 format, Riso print on recycled paper.

Thomas Brun & Pablo Jomaron, Typologie du sauveur, Pathos du redempteur, Paris, Red Lebanese, 2013, 80 pp., A5 format, Riso print and rubber band.

Benito & Le K, Paris – GDN, Paris, Red Lebanese, 2013, 40 pp., 14 x 20 cm, Riso print, 20 copies.

Mickael Bardelli, Oversize, Paris, Red Lebanese, 2014, 20 pp., A5 format, Riso print yellow paper.

Raphael Lopez, PARISREAL I, Paris, Red Lebanese, 2015, 44 pp., 15 x 23 cm, Riso print, 100 copies.

Yanis Dadoum, PARISREAL II, Paris, Red Lebanese, 2015, 44 pp., 15 x 23 cm, Riso print, 100 copies.

Pablo Jomaron, Ensemble 4, Paris, Red Lebanese, 2015, 24 pp., 20 x 28 cm, Riso print on recycled paper, 100 copies.

http://www.red-lebanese.com