Colourfull pantone days fade in and out as time goes by. Year Planner Poster included.
Size: 135x205mm / Year plan size: 640x960mm / Pages: 416
Printed in Greece by Kostopoulos Printing House. Bound by Libro d’Oro. Published by Cube Art Editions.
Archive
The knowledge that Panos Sklavenitis, in recent years, studies, explores and transcribes in his work the carnival ceremonies, the transformation, the unmasking of the mask, raising political issues, is indeed conducive to a correct reading, however I think that the interpretations do not extend vectorially from the starting point to the present and overlook the fact that it is ultimately the artist’s obsessive commitment which brings about successive transformations in the work itself.
In The Head “, it is the artist’s own head which is detached and placed in other bodies to be carried around, through multiple osmosis, as they ultimately desire. I detect here a magnanimity of despair: “Take my head because there are times when I can’t keep it in place, and let’s play by changing burden and lightness. From the first “portraits” of The Head, to ZETE and then the Study of Five Parader’s Heads, the progression is evident. The connection between the formations and the surrounding natural landscape is now strong. The work is enveloped by an organicity, it becomes part of it, the bodies acquire branches, the tongues are aloe leaves, as color and bodily forms flow in streams in dionysian and colorful hedonisms. It seems like the Place has been found, but has it really? Because now the project digs its claws into the mud and chews up dirt. Having previously emerged, it is now striking down to the earth, taking on a chthonic form until its next transformation.
With the book The Head. Works on Paper, Panos Sklavenitis gives us the gift of his vision, at a moment when he is immersed in the ecstasy of his art, i.e. he is like all dedicated artists in danger, as through his work he reveals and delivers himself to us. I flip through the pages and repeat Cézanne’s phrase like a mantra every now and then: “The landscape thinks of myself in me”. —Yro Kazara
Edited by Christos Lialios.
Size: 210x290mm / Pages: 168
Printed in Greece by Kostopoulos Printing House. Bound by Libro d’Oro. Spine painting by Vassiliki Vlachou Bookbinding. Published by Βig black mountain the darkness never ever comes.
ISBN: 978-618-87122-1-8
Lost Bird is a book about abandonment. Photos thrown in the trash, postcards from baskets at flea markets, pages from books, mostly encyclopedias piled up in antique shops and texts from torn pages. It is a collection of images, drawings and writings, which once gave us light, if only for a while, and then plunged into darkness. It is a mutual relationship that changes at the same time, an association of the old to the new that speaks of injustice and oppression, of lost beauty, our lost nature. It is the poetry we failed to write by the end of the line.
Edited by Christos Lialios and Katerina Vazoura.
Size: 150x220mm / Pages: 312
Printed in Greece by Kostopoulos Printing House. Bound by Libro d’Oro. Published by Βig black mountain the darkness never ever comes.
ISBN: 978-618-87122-0-1
The publication documents the pioneering art psychotherapy research workshop, which was organised for a second year at the ΕΜΣΤ | National Museum of Contemporary Art, Athens, designed and implemented by artist and art psychotherapist Maria Konti. This volume’s texts and research material explore the clinical practice of response art vis-à-vis the artistic practice of performative writing. It is a valuable archive of the workshop’s proceedings and also a handbook for the methodology of response art.
Edited by Maria Konti and Elisabeth Ioannides. Texts by Argyro Axioti, Thalia Bardani, Nadia Chondroyiannis, Elisabeth Ioannides, Myrto Kiourti, Maria Konti, Patricia Kouveli, Despoina Papaioannou, Paola Partsalaki, Katerina Nasia Ramadani, Konstantinos Samaras and Eleni Vali.
Size: 165x226xmm / Pages: 160
Printed in Greece by Kostopoulos Printing House. Bound by Libro d’Oro. Published by EΜΣΤ.
ISBN: 978-618-5507-18-3
The X-Lectern is a piece of furniture that serves as a support for reading a book. Designed by Studio Lialios Vazoura, it consists of four pieces of wood that are easily assembled with specific notches. It is heavy and stable.
Available in four pairs of colours: Purple-Black, Red-Black, Green-Black, Black-Black
Dimensions: 1220x1220x500mm / Made by Russian Birch Plywood 21mm
A diary that follows the frequency of the year per page with drawings and illustrations from children’s books from the studio’s collection. We thank all these artists who fill children’s fairy tales with beauty: Glennis Allison, Roger Duvoisin, Tom Oreb, Elsa Beskow, Margaret Bloy Graham, W. T. Cummings, Don Freeman, Maginel Wright Enright, Irma Wilde, Gyo Fujikawa, Zdenék Rozkopal, Esther Friend, Ernest Flammarion, Bernadette Watts, Semi, Maria Pascual, Ruth Eger, Rie Cramer, Robert McCloskey, Arthur Renshaw, Tony Brice, Karmen L. Browne, L. Kate Deal.
Size: 145x205mm / Pages: 416
Printed in Greece by Kostopoulos Printing House. Bound by Libro d’Oro. Published by Cube Art Editions.
Visual identity and poster design for Athens Art Book Fair 2023. Athens Art Book Fair is an artist-run initiative aiming to bring together and showcase artist publications produced in Greece as well as to create a link with publishing-based artistic practices (print, online and else) internationally. Athens Art Book Fair aims to introduce Athens as a new meeting point for this international community, calling for publishers, zinesters, magazines, distributors and artists with an ongoing publishing practice to get together and showcase print as an artistic practice.
Event info: October 6-7-8 / Athens Conservatory.
Direction: Margarita Athanasiou. Program curation: Margarita Athanasiou, Caterina Stamou. Production Coordinator, Radio Programming: Zina Sarris.
Visual Identity: Studio Lialios Vazoura.
Poster sizes: 700x1000mm, 350x500mm
Printed in Greece by Kostopoulos Printing House. Organised by Athens Art Book Fair.
Silkscreen edition designed by the studio.
Size: 1000x700mm / Edition of 50 copies signed and numbered by Studio Lialios Vazoura
Silkscreen by Pantotype. Available via Big black mountain the darkness never ever comes.
Avenue of the Living is a book that arrives as a parallel work to a film titled Aleph, by artist Iva Radivojević. It unfolds as a dreamscape guided by a prose poem that weaves through photographs, diary notes and found objects, all of which were collected during the travels and the making of Aleph. Aleph, inspired by Jorge Luis Borges, points to a hidden portal that contains the entire universe. When looked into, this portal unveils everything that ever existed. In his short story by the same name, Borges writes, “I saw the teeming sea; I saw daybreak and nightfall; I saw the multitudes of America; … I saw a splintered labyrinth (it was London); … I saw horses with flowing manes on a shore of the Caspian Sea at dawn; I saw the delicate bone structure of a hand; … I saw the slanting shadows of ferns on a greenhouse floor; I saw tigers, pistons, bison, tides, and armies.” In a similar way, the Avenue of the Living acts as a portal, traversing space and time, an all encompassing journey. Dislocation is one of the themes that runs through Radivojević’s and this book is no different. Writer Dubravka Ugrešić describes the state of dislocation as having the quality of a dream in which past, present and future are folded into each other. In this state, places and people never before encountered seem familiar, and places once known feel foreign. In this dreamscape one travels through languages, and realities, floating from place to place. The protagonist of this dreamscape is a female nomad, a specter of life.
Edited by Iva Radivojević and Katerina Vazoura.
Texts by Toby Lee and Eszter Zimanyi.
Size: 150x220mm / Pages: 240 / Poster: 420x268mm
Printed in Greece by Kostopoulos Printing House. Bound by Libro d’Oro. Published by Βig black mountain the darkness never ever comes.
ISBN: 978-618-83082-8-2
The first 100 copies are accompanied by an audio document recorded on a 7inch single.
This ongoing series is a reflection on the outer visual world and the inner. What color is hiding behind the grays. Some days the world looks as if the world is gray. It’s that hidding sun behind a cloudy atmosphere. It’s that mysterious light that flattens the world. The series captures the beauty and complexity of architecture, still life, light and darkness. I like to improvise with a given situation, whatever material is at hand. Using fragments of personal history, memory and imaginations. —Paul Rondags.
Edited by Paul Rondags and Christos Lialios.
Size: 210x300mm / Pages: 64
Printed in Greece by Kostopoulos Printing House. Bound by Vassiliki Vlachou. Published by Big black mountain the darkness never ever comes.
ISBN: 978-618-83082-9-9
An exhibition of film projections in public space that aims to illuminate and discuss time based media as a tool to document phenomena such as entropy and transformation in the city, seemingly insignificant and coincidental urban events, and the relation between architecture and the life it frames. Through a collective discourse unfolded within a variety of camera registration and displayed forms, the location and content of each work and the communal effort as a chronic of the medium are negotiating history and memory in the urban condition. Composed of a group of artists who are working with moving image as part of their practice from a range of different approaches, the exhibition becomes a collective epilogue to the overall Real Time History program, “as the camera records more than the mind can remember”.
The program Registered Time is curated by Maria Lalou and Skafte Aymo-Boot, and organised by Cross Section Archive non-profit space for art and architecture as part of its annual research and exhibition topic of 2022-2023, Real Time History.
Participating artists: Aglaia Konrad, Dimitra Kondylatou, Geirthrudur Finnbogadottir Hjorvar, Anu Vahtra, Maria Lalou and Skafte Aymo-Boot, Vassilis Noulas, Constantinos Hadzinikolaou, Sofia Dona.
Bilingual publication documenting the innovative art psychotherapy research laboratory at EMST designed and implemented by artist and art psychotherapist Maria Conti. The workshop explored the clinical practice of response art in relation to the artistic practice of the archive. The Art of Response is not only a valuable archive of the workshop’s proceedings but also a unique handbook in an international context for the methodology of response art. At the same time, it is evidence of the systematic and versatile research work carried out at the National Museum of Contemporary Art Athens.
Editor: Maria Konti. Coordination: Elisabeth Ioannides, Theophilos Tramboulis.
Participants: Thalia Bardani, Elisabeth Ioannides, Maria Konti, Panos Kouros, Grigoris Maniadakis, Aphrodite Pantagoutsou, Despoina Papaioannou, Paola Partsalaki, Katerina Nasia Ramadani and Evangelia Styliara.
Size: 165x226xmm / Pages: 132
Printed in Greece by Kostopoulos Printing House. Bound by Libro d’Oro. Published by EΜΣΤ.
ISBN: 978-618-5507-12-1
Catalogue design of the central exhibition of the 8th Thessaloniki Biennial of Contemporary Art. The exhibition aims to think critically about co-existence and collaborative practices as creative tools for handling the multiple crises that we face. Thinking through being as communion, 28 artists via their respective practices touch on various forms of more than human collaborations, with our spectral past and our challenging present, thinking of how we can co-exist with animate life around us, the land that we stand on, the food that we eat and the air that we breathe. Being as Communion will focus on inclusive practices that explore different forms of care, love and mutuality, whilst also proposing generous forms of support systems. Invited artists and artist collectives will explore the human impact on the eco-systems that we share, whilst suggesting forms of more equitable existence, for humanimal survival, probing to what extent we can learn new ways of being with, rather than dominating the world around us.
Curated by Maria-Thalia Carras. Assistant curators: Manto Psarelli and Foteini Salvaridi.
Participated artists: Jumana Emil Abboud, Paky Vlassopoulou, Gianfranco Baruchello , Campus Νovel, Aslı Çavuşoğlu, Phoebe Giannisi, COYOTE, Cevdet Erek, Zheng Bo, Piero Gilardi, Sky Hopinka, Akira Ikezoe, Vasso Katraki, Jumana Manna, Ahmed Morsi, Hira Nabi, Abraham Onoriode Oghobase, Yiannis Papadopoulos, Alexandra Paperno, Angelo Plessas, Iva Radivojević, Kostas Roussakis, Corinne Silva, Panos Sklavenitis, Agnès Varda, Ana Vaz, Vessel (Navine G. Dossos and James Bridle), Thanasis Chondros and Alexandra Katsiani.
Size: 165x235mm / Pages: 256
Printed and bound in Greece by Akritidis Print Solutions.
ISBN: 978-618-5426-29-3
The Representation of Trauma: The Experiential Imprint on the Body and the Inclusion of the Real Body in the Art of Dance is the outcome of a parallel observation of the body through contemporary dance and the lacanian psychoanalysis, by dancer and choreographer Agni Papadeli Rossetou.
Contributors: Georgia Vardarou, choreographer and dancer, Vitoria Kotsalou, choreographer and dancer, Nasia Linardou, psychoanalyst and psychiatrist, Konstantinos Michos, choreographer and dancer, Stefania Mylona, choreographer and dancer, Agni Papadeli Rossetou, choreographer and dancer, Anna Pigou, psychoanalyst and psychiatrist, Eleni Rigoutsou, clinical psychologist and psychoanalyst, Stella Steletari, psychologist, Konstantinos Tsioukas, choreographer and dancer. Edited by Agni Papadeli Rossetou and Katerina Vazoura. Design by Studio Lialios Vazoura.
Size: 130x200mm / Pages: 212
Printed in Greece by Kostopoulos Printing House. Bound by Libro d’Oro.
The book was published with the support of the Ministry of Culture and Sports.
With Blank. Raw. Illegible… Artists’ Books as Statements (1960-2022) the Leopold-Hoesch-Museum shows a representative selection of international positions dedicated to the blank book as an artistic medium. The number of 259 artists’ books on display refers to the legendary exhibition Book as Artwork 1960/72 curated by Germano Celant and Lynda Morris, but the selection focuses exclusively on the qualities of blank, raw, illegible, empty, unprinted, tautological, hermetic, dysfunctional, and mysterious.
Curated by curator, editor, and collector Moritz Küng, the exhibition explores how contemporary artists and artist collectives exploit and activate the conceptual potential of a blank sheet of paper or a book with empty pages for their artistic practice. In the process, the empty, non-existent, and invisible become meaningful, and the refusal of legibility in the conventional sense becomes a telling statement. A seemingly absent content reveals a multitude of unexpected perspectives on conventions of communication and themes of speechlessness, origin, and disappearance. Starting with a significant exploration by artist Herman de Vries of the designation of the color white, the exhibition opens up the diversity of artistic concepts in reflecting on emptiness, purity, and raw material in relation to the formal and functional criteria of books in 15 chapters, the headings of each of which are taken from one of their book titles.
Participation of the studio with the book/diary “Empty Days. Diary 2017”. Published by Cube Art Editions and documenta 14.
Curated by Moritz Küng. Held at Leopold-Hoesch-Museum, Düren.
Photos by Peter Hinschläger.
A diary that follows the method of degeneration copy from the Xerox Art movement in the 1960s. Starting with a blank page as day one and then making a copy of the copy until we reach day three hundred and sixty-five. Every next page, carries the traces of the previous ones, and slowly deforms with random and unknown additions, in an attempt to capture the passage of time.
The idea of this project diary was made possible with the support of Dimitris Daritsis and his copy machine, Eleni Saroglou of Cube Art Editions, Kostas Kostopoulos with his fine printing.
Concept: Katerina Vazoura
Size: 156x220mm / Pages: 736
Printed in Greece by Kostopoulos Printing House. Bound by Libro d’Oro. Published by Cube Art Editions.
There is an atmosphere of undiluted male here.
Vanessa Bell, private letter to Virginia Woolf, August 21, 1908
Drawing on specific textile-artworks produced by British artist Vanessa Bell (1879-1961), German Anni Albers (1899-1994) and Russian Lyubov Popova (1889-1924), the present text attempts to map the nexus of discourse in and through which, the said female artists applied the language of geometric abstraction on items of everyday life from 1913 until 1927. Despite the visual similarities among the textile-artworks produced by these three women arising from the common pictorial language, as well as the technical nature of the medium, on a second plane, their works present major differences, as each artist’s conception of the specific stakes born by geometric abstraction differs according to the cultural context within which they found themselves positioned – as well as positioned themselves – in terms of gender, class and national identity. —Apostolos Ntelakos
Edited by Apostolos Ntelakos. Design by Studio Lialios Vazoura.
Size: 110x175mm / Pages: 136
Printed in Greece by Kostopoulos Printing House. Bound by Libro d’Oro. Billingual edition (English, Greek). Published by Βig black mountain the darkness never ever comes.
ISBN: 978-618-83082-7-5
Nina Papaconstantinou minutely explores the relationship between the text and its image, at the same time investigating the drawing as a composite of signs, imprints and tracings (ichnographies). “Writing, copying and imprinting” (to employ an indivisible triad of participles used by the artist herself to describe her work) she draws on the surface of the paper overlapping inscriptions and transcriptions which highlight the seduction of the trace and the materiality of writing.
A new appraisal of the artist ought, therefore, to provide added value. Hence, the main concern of the present publication, apart from recording and documentation, is to order and enrich her work (by means of a bibliography, to start with) by suggesting new readings of her indecipherable images, creating new, fruitful associations, seeking relationships with other bodies of work, ideas and references. At a second level, this accompanying text works more as a draft of “hermeneutic comments” or, better, as “notes in the margin” (marginalia) of Papaconstantinou’s production of images: on the one hand, I point out or develop readily recognizable concepts (secret, opacity, absence, deletion, copying, palimpsest, confession, disclosure, silence) and, on the other, I trace or come to suggest new ones. This publication is not a catalogue raisonné ― it is, at any rate, an illusion to think that a visual artist’s complete oeuvre can ever be subsumed in a book, however voluminous. It may be more accurate to say it is a thorough survey, a panorama, covering the span of two decades. If the artist amasses “traces” (of writing) and “secrets” on paper, thus rendering the text indecipherable, this publication endeavors to make the hard–to–photograph and reproduce body of work, more legible and accessible. Through this book Papaconstantinou’s inscriptions emerge into another place of inscription, that of typography. Thus, the texts and books she uses as sources return to their house (oikos), i.e. once again become ―to use Jacques Derrida’s expression in “Archive Fever: A Freudian Impression”― part of the “ponderous archiving machine” (press, printing, ink, paper). —Christopher Marinos
Edited by Christopher Marinos. Design by Studio Lialios Vazoura.
Size: 210x280mm / Pages: 440
Printed in Greece by Kostopoulos Printing House. Bound by Iliopoulos Georgios and Pouli Vassiliki. Published by Βig black mountain the darkness never ever comes.
ISBN: 978-618-83082-6-8
Iris Karayan is a choreographer based in Athens. She studied dance at the Greek State School of Dance and completed a Master of Arts in Performance and Culture at Goldsmiths College. She is a founding member and choreographer of Zita Dance Company.
Web design by the Studio Lialios Vazoura.
In general, the paintings develop as a collection of moments. What I am looking for is a certain presence that the painting needs to have when completed. I have to build something in order to get there; I have to make a construction. It is often a matter of long preparation. For instance, the drying time is part of the process. I have to wait between layers, and this provides me with time to look and reflect on the next steps until I reach a point where all elements work together in unison. For this to happen, I might need to remove parts through scraping or burning, which melts the paint away, and then add a new layer. Often, I dig into layers that have built up over time in a single painting. And each layer contains a different movement, referring back to a specific painting session. As I am scraping off a layer, I can see and remember what was underneath. Then I can go deeper, or make it softer, to create a kind of resonance between the deeper layers and the front layer; it is a constant physical dialogue with the material. All this is part of the process, a layering of moments. But when I am actually working on the painting, I am devoid of any thoughts. It is like an instinct: The minute I start painting, there is no doubt, and it is done really quickly and immediately, like an attack. —David Benforado
Catalogue design by the studio and published on the occasion of the exhibition Cataclysms by David Benforado, curated by Eleni Varopoulou and held at the Kourd Gallery from May 5 to August 5, 2022.
Size: 185x255mm / Pages: 104
Printed in Greece by Kostopoulos Printing House. Bound by Libro d’Oro. Published by Cube Art Editions.
ISBN: 978-618-5204-14-3
“Wavecrusher” is a wrong translation from greek for the word breakwater. “Wavecrusher” was an area I used to visit. Some times I still do.
It was a landscape consisted of construction material for breakwaters. It was around a port at southern suburbs of Athens, where I grew up. During the 90s there already was a breakwater there but the plan was to expand it and eventually make it a semi private port area with bars and restaurants. Other parts of the area was mostly used for the Olympic constructions for 2004.
I recall that between 1996 and 2001 there were huge piles of scrap metal, rusted platforms and a forest of big masses of crosslike shaped concrete. I used to live nearby and I was visiting this site often then but left it, some time later, to live somewhere else. By 2013, when I returned for a brief period to live there, this sight has been mostly gone. Now the place I call “wavecrusher” is reduced to a very small place. These photos were taken in may 1999. It was the first film I had used. — Andreas Ragnar Kassapis
Edited by Andreas Ragnar Kassapis, Christos Lialios and Katerina Vazoura.
Size: 195x280mm / Pages: 64
Printed in Greece by Kostopoulos Printing House. Published by Βig black mountain the darkness never ever comes.
ISBN: 978-618-83082-5-1
Visual identity and poster design for Athens Art Book Fair 2022. Athens Art Book Fair is an artist-run initiative aiming to bring together and showcase artist publications produced in Greece as well as to create a link with publishing-based artistic practices (print, online and else) internationally. Athens Art Book Fair aims to introduce Athens as a new meeting point for this international community, calling for publishers, zinesters, magazines, distributors and artists with an ongoing publishing practice to get together and showcase print as an artistic practice.
Event info: September 23-25 / Athens Conservatory.
Direction: Margarita Athanasiou. Program curation: Margarita Athanasiou, Caterina Stamou. Production Coordinator, Radio Programming: Zina Sarris.
Visual Identity: Studio Lialios Vazoura.
Poster sizes: 700x1000mm, 350x500mm
Printed in Greece by Kostopoulos Printing House. Organised by Athens Art Book Fair.
Three visitors pay tribute to Popi’s house after visiting for the last time, by taking memorabilia pictures with their cellphones. Popi Saroglou lived in this house with her husband Costas Saroglou from 1969 until 1996 and, after his death, until 2007.
Edited by Eleni Saroglou. Photographs by Ioanna Portolou, Danae Portolou and Eleni Vlachou.
Size: 132x190mm / Pages: 200
Printed in Greece by Kostopoulos Printing House. Bound by Libro d’Oro. Edge painting by Sermaidis Press. Published by Cube Art Editions.
ISBN: 978-618-5204-12-9
A daily diary for the year 2022.
Diaries are an ongoing project of Studio Lialios Vazoura since 2010. The idea of this series of time storage devices, is to focus on questioning different methods of how we organise our time.
Formats, sizes and distribution systems vary each year.
Size: 140x205mm / Pages: 416
Printed in Greece by Kostopoulos Printing House. Bound by Androvik Bookbinding Co. Published by Cube Art Editions.
An edition of ten drawings by Andreas Vais. Out of Nowhere, 2013, Serendipity, 2011, You Must Believe in Spring, 2013, Translucent Evening, 2015, Waking Up, 2014, Do Nothin’ Till You Ηear From Me, 2014, Tonight at Noon, 2013, Sleeping Giant, 2013, A Felicidade, 2013, Holiday for Soul Strings, 2015.
Edited by Andreas Vais, Christos Lialios and Katerina Vazoura.
Size: 245x330mm / Pages: 24
Printed in Greece by Kostopoulos Printing House. Bound by Vassiliki Vlachou. Published by Big black mountain the darkness never ever comes.
ISBN: 978-618-83082-4-4
Athens Art Book Fair 2021: The Local Edition invites us to think in a smaller geographic scale and to reassess notions of locality. Turning the insecurity that surrounds international travels into an opportunity for introspection, this year’s edition focuses on publishing practices based in and around Greece. Aiming to showcase the diversity of publishing practices, the Athens Art Book Fair brings together established publishing houses, institutions, small presses and experimental, DIY publication projects.
Event info: September 11-12 / 11:00-21:00 / Kypseli Municipal Market.
Direction: Margarita Athanasiou. Program curation: Margarita Athanasiou, Caterina Stamou. Communication: Katerina P. Trichia.
Visual communication: Studio Lialios Vazoura.
Poster sizes: 700x1000mm, 350x500mm
Printed in Greece by Kostopoulos Printing House. Organised by Athens Art Book Fair.
When listening to the song composed by Louizou and sung by herself and two other performers, you somehow step into the shoes of the listening king. The installation venue turns into a giant ear, and the viewers/listeners attune to the three female voices. These voices seem to be waiting for other voices to come and join them – on the one hand, it is Louizou’s voice that calls you; on the other, ‘it is your voice, the voice you created to reply to her, drawing it from the dust of the city sounds.’ ‘Destined for the ear of another, Cavarero aptly remarks, the voice implies a listener – or better, a reciprocity of pleasure.’ ‘It is no longer a question of intercepting a sound and decoding or interpreting [a sound], the philosopher points out, but rather of responding to a unique voice that signifies nothing but itself [and] to make of [one]self a source of sonority.’ —Christoforos Marinos
Fold-out poster design on the occasion of the exhibition Six Breaths per Minute by Maria Louizou presented at Ileana Tounta Contemporary Art Centre, 17 June – 2 October, 2021. Exhibition text by Christoforos Marinos.
Size: 700x1000mm / Folded size: 210x290mm
Printed in Greece by Kostopoulos Printing House.
These essays discuss issues concerning the protection and promotion of traditional settlements and cultural heritage as well as the development dimension of cultural tourism. Space planning for tourism is analyzed as well as the effects of tourism upon space, settlements, architecture and natural environment and also Aris Konstantinidis’ contribution in hotel architecture. Furthermore, Athens as a tourist destination, issues of spatial planning and control of tourism development. Approaches to the relatively recent developments and new issues having emerged both internationally and domestically, such as overtourism, short-term house renting and the iconic but also problematic case of Santorini. — Alexis Hatzidakis
Texts and photos by Alexis Hatzidakis.
Size: 170×240mm / Pages: 384
Printed in Greece by Kostopoulos Printing House. Bound by Libro d’Oro. Published by Cube Art Editions.
ISBN:978-618-5204-10-5
This is an idea of a diary dedicated to the consistent consciousness of the present, the center that exists between the past and the future and the connection with our nature. Tittle borrowed from Four Quartets, T. S. Eliot, Burnt Norton III (No. 1 of Four Quartets).
Size: 130x195mm / Pages: 416
Printed in Greece by Kostopoulos Printing House. Bound by Libro d’Oro. Published by Cube Art Editions.
The tone is already set on arriving on the island, where classical music blares out over the land and the sea every time a ferry enters the harbour. The traveller has been yearning to come here for a long time. He has a picture in his mind of a brutish creature in a dishevelled fleece with bells around his waist clanging resonantly, hypnotically. It is a picture etched into memory after four years of longing. —Hilde Aagaard
A book with a physiological and humanitarian approach through Hilde’s Aagaard trips in Greece. A series of images close to cinematic narratives unfolds the mystical and spiritual relationship of human and nature and their interconnectedness.
Edited by Studio Lialios Vazoura. Text by Hilde Aagaard.
Size: 166×235mm / Pages: 296
Printed in Greece by Kostopoulos Printing House. Bound by Libro d’Oro. Cover by Vassiliki Vlachou. Published by Cube Art Editions.
ISBN:978-618-5204-09-9
A genuine and lyrical painter, a huge surprise, this first appearance with works taken from an incredible, magical journey to the ends of his self. The all-powerful Dream Terminus–an articulated world–, which rises up like a new-born volcano and branches into an infinite sequence. (…) Long live Akrithakis. Those with eyes shall hear and those with ears shall see. —Nanos Valaoritis, Alexis Akrithakis, French Institute, Athens 1965
The publication Tsiki-Tsiki has been published on the occasion of the exhibition Alexis Akrithakis: Tsiki-Tsiki that took place at the Benaki Museum, Athens, 2019. Edited by Chloe Geitmann-Akrithaki and Alexios Papazacharias. Texts by Chloe Geitmann-Akrithaki, Alexios Papazacharias, Eleana Stoikou and Denys Zacharopoulos.
Size: 210x280mm / Pages: 152
Printed in Greece by Kostopoulos Printing House. Bound by Libro d’Oro. Published by Cube Art Editions.
ISBN: 978-618-5204-07-5
If you ‘while away the time’ in a particular way, you spend time in that way, because you are waiting for something else to happen, or because you have nothing else to do.
Size: 140x210mm / Pages: 756
Kostopoulos Printing House. Βound by Androvik. Published by Cube Art Editions.
The project Island Hoping —an optimistic wordplay on the notion of island hopping— explores images and myths of the Mediterranean, a geographical entity, but above all an imagined reality, in which the appreciation of beauty and a collective spirit are deeply ingrained. The Mediterranean is sometimes described as a cultural space, but in fact its historical and political reality has always been more complex.In these meticulously structured photographs, islands and rock formations emerge from the sea in an indeterminate landscape. Because of their morphology and ruggedness, the rocky shores of the Aegean islands evoke ambiguous emotions that lie between optimism, hope, and uncertainty. Christina Dimitriadis’s aesthetic approach transforms the landscape from hospitable to barren.The starting point for the series was a black-and-white photograph of Helgoland, an island in the North Sea with a distinctive political and geographical history. It is also the birthplace, on the maternal side, of the Dimitriadis family and the beginning of a continuous biography of migration. Past and future, individual and collective flow together, making Island Hoping a hybrid of North and South.
Edited by Delphine Bedel. Texts by Denys Zacharopoulos, Övul Durmusoglu and Kimberly Bradley. Design by Studio Lialios Vazoura.
Size: 190x250mm / Pages: 96 / English edition
Printed in Greece by Kostopoulos Printing House. Bound by Libro d’Oro. Published by META/BOOKS.
ISBN 978-90-821182-6-1
A project about feeling lonesome as a lost bird, facing violence, extinction, injustice, finding nature and many other unspeakable feelings that can be transferred only through image and its correlations.
Lost Bird has been presented at the group exhibition Collectanea curated by Christoforos Marinos, at the ACG Art Gallery.
Participating artists: Nikos Alexiou, Anna Constantinou, Ria Dama, Nella Golanda, Nana Isaia, Zissis Kotionis, Panagiotis Koulouras, Vasiliki Lefkaditi, Klearchos Loukopoulos, Nina Papaconstantinou, Anthimos Peloponnisios, Kostas Roussakis, Studio Lialios Vazoura, Yiannis Theodoropoulos, Tassos Triandafyllou, Giorgos Tserionis, Maria Tzanakou, Andreas Vais, Myrto Xanthopoulou.
Size: 700x1000mm / Inkjet print on fine art paper 300gsm / Courtesy of the artists
Photo by Nikos Alexopoulos
The X-Lectern is a piece of furniture that serves as a support for reading a book. Designed by Studio Lialios Vazoura, it consists of four pieces of wood that are easily assembled with specific notches. It is heavy and stable.
Available in three pairs of colours: Purple-Black, Red-Black, Green-Black.
Dimensions: 1220x1220x500mm / Made by Russian Birch Plywood 21mm
Athens Art Book Fair is an artist-run initiative aiming to bring together and showcase artist publications produced in Greece as well as to create a link with publishing-based artistic practices (print, online and else) internationally.
Poster design by Studio Lialios Vazoura. Text by Michalis Pichler.
Size: 590x840mm / Folded size: 295x280mm
Printed in Greece by Kostopoulos Printing House.
Photo by Fil Ieropoulos
A diary – travel journal, suggesting to record and gather your spacetime trips and collect your thoughts and souvenirs into twelve handcrafted envelops, one per month.
Size: 170x240mm / Pages: 384
Printed in Greece by Colorprint Tsekouras Ltd. Bound with12 papers folded to an envelope by Libro d’Oro. Published by Cube Art Editions.
“Topheth”, Yiannis Theodoropoulos’s first book, is about the loneliness of objects, the memory of mosaic floors, the allure of bed sheets and of creases. It is also about the loss of love, the notion of sacrifice and (the process of) victimization, the search for a coherent subjectivity and the impossibility of this endeavour. The principal theme of Theodoropoulos’s images is the ‘end of tradition’, as the artist himself notes; not just the tradition of photography obviously, but the end of a sense of commitment-personal, social, as well as artistic. From this perspective, Topheth marks the end of submission to perpetuating complexes that cause a slew of guilt and blame. In this book, artist Yiannis Theodoropoulos ‘strips himself bare.’ The crypt opens up: his house in Magoufana –what the area of Pefki was once called– now resembles a museum of personal memories and illusive-destroyed collective dreams. —Christoforos Marinos
Edited by Christoforos Marinos with texts by the artist and him.
Size: 210x275mm / Pages: 116
Printed in Greece by Colorprint Tsekouras Ltd. Bound by Dedes Dionyssios Co. Cover bound by Vassiliki Vlachou. Published by Cube Art Editions and Big black mountain the darkness never ever comes.
ISBN: 978-618-5204-03-7
Eleni Papanastasiou practices architecture, visual arts and research. Her creative process is interdisciplinary, experimenting with nature, language, photography, and tactile structures, treating them as raw material for architecture and artwork. While dedicated to the realization of Architecture, she engages in Academic Research and Teaching, Scenography, Photography, Exhibition, Installations, and Cultural Analysis. Her practice is research based in quest of environments that combine clarity, aesthetic challenge and function, given the unique conditions of each project.
Website design by Studio Lialios Vazoura.
One Friday morning we packed our luggage for a three day trip and boarded the train from Athens to Thessaloniki. We would go visit two friends of ours who had recently moved there, following the general trend, so characteristic of our times, of movement from any place to any place. Radical changes are implemented when conditions become unbearable in one way or another, something that happens lately too easily in various ways and various magnitudes. Within this frame, our friends had decided last year to negate all structures they had developed over the years, and venture towards an unknown and more basic form of living. They would get involved in agriculture; they would exchange city life and Academia with the task of developing a self-sustainable agricultural environment within the principles of permaculture. With the growth of their trees and plants, they would reclaim the lost ‘meaning’. When we arrived at Thessaloniki, we decided to visit together the piece of land that would be the field of their dream. It was winter, the perfect season to plant cherry trees and pear trees and with this task at hand, we started driving up the mountains. We knew that the field was partially forest, home to boars, along with their accompanying hunters. The planting would take place in a clearing. Fog had set down upon our arrival and we walked through the forest, with our shovels and the young trees in hand. In the clearing, we dug large holes on the ground and planted all the trees. I was taking pictures of our small pagan feast. I saw these photos after we returned to civilization and realized it was not a feast I had captured. A record of clues from a crime scene would be a more appropriate description, where something already dead or killed on the spot was buried. Our previous ways, our outdated aspirations, our trust on things. We were told later that our trees were uprooted by the boars, which like eating young roots; nevertheless, our friends would replant them. —Nikos Kachrimanis
Publication designed and edited by Studio Lialios Vazoura. Text by Nikos Kachrimanis.
Size: 175x230mm / Pages: 48
Printed in Greece by Colorprint Tsekouras Ltd. Bound by Vassiliki Vlachou. Published by Cube Art Editions.
ISBN: 978-618-5204-04-4
Modelling Phenomena is the first book/monograph for the visual artist Christos Tzivelos (1949-1995). This book highlights the full breadth and complexity of Tzivelos’s career, one of the most radical and distinctive greek artists of the ’80s and ’90s. Including exhibition image archives since 1977-1995, unknown work, early work and his studies-references, this volume salutes on an assiduous research on the artists working path, implying his social ideals and values as a visual artist and as a person.
Edited by Christophoros Marinos and Bia Papadopoulou. Texts by by Christophoros Marinos, Bia Papadopoulou and Christos Tzivelos.
Size: 210x280mm / Pages: 304
Printed in Greece by Colorprint Tsekouras Ltd. Bound by Mantis, J, and Sons. Published by Big black mountain the darkness never ever comes and The Benaki Museum.
ISBN: 978-618-83082-2-0
A diary based on twelve different layouts of notebooks, creates an organising pattern/system for each month. Besides the predetermined time and space, ‘some days last longer than others’.
Size: 130x190mm / Pages: 458
Printed in Greece by Colorprint Tsekouras Ltd. Bound by Mantis, J, and Sons. Published by Cube Art Editions.
A pilot is trapped in a crumbling, abandoned airport. Naeem Mohaiemen’s first fiction film is based on when his father was stranded without a passport in Athens’ Ellinikon International Airport for nine days in 1977.
Poster design in collaboration with the artist. Presented at documenta 14 in Athens.
Size:700x1000mm
Printed in Greece by Colorprint Tsekouras Ltd. Commissioned by documenta 14. Co-commissioned by Sharjah Art Foundation and Art Jameel, Dubai.
A Hand’s Turn by Lenio Kaklea is a performance for one or two visitors. In the form of a 25 minutes private session, Lenio Kaklea investigates the functional, political and symbolic dimensions of the binary opposition left/right and examines the tensions between face and mask, body and face. The publication accompanies the performance.
Choreography- Interpretation by Lenio Kaklea. Curatorial collaboration by Lou Forster.
130x200mm / Pages: 208
Printed in Greece by Colorprint Tsekouras Ltd. Bound In Netherland by Stronkhorst Bookbinders. Published by Big black mountain the darkness never ever comes. Production by Athens and Epidaurus Festival.
ISBN: 978-618-83082-1-3
Catalogue design for the Greek Pavilion represented by the artist George Drivas.
Laboratory of Dilemmas is a narrative video installation based on Aeschylus’ theatre play Iketides (Suppliant Women), which poses a dilemma between saving the Foreigner and maintaining the safety of the Native. Addressing current global sociopolitical issues, the work deals with the anguish, puzzlement, and confusion of individuals and social groups when called upon to address similar dilemmas. Aeschylus’ Iketides (Suppliant Women) is the first literary text in history that raises the issue of a persecuted group of people seeking for asylum. The Suppliants have left Egypt to avoid having to marry their first cousins and arrive at Argos seeking asylum from the King of the city. The King is then faced with a dilemma. If he helps the foreign women, he risks causing turmoil among his people and going to war with the Egyptians, who are after the Suppliants. But if he doesn’t help them, he will break the sacred laws of Hospitality and violate the principles of Law and Humanism, leaving the Suppliants to the mercy of their pursuers.
Laboratory of Dilemmas focuses on the play’s dilemma through the excerpts of an unfinished documentary in the form of found footage about a scientific experiment. This experiment was never completed for unknown reasons, however the found excerpts of the unfinished documentary reveal today, after so many years, details of the experiment, as well as the hopes of the professor who envisioned it and the disagreements with his co-researchers. The story is presented piecemeal through multiple video and sound sources inside a Labyrinth. The acclaimed actress Charlotte Rampling has a leading role in the videos of Laboratory of Dilemmas, along with other well-known Greek actors. An immersive video installation that addresses contemporary sociopolitical issues and offers a peripatetic audiovisual experience that may create various different dilemmas to every visitor.
Curated by Orestis Andreadakis. Edited by George Drivas and Orestis Andreadakis. Texts by Petros Babasikas, Evgenia Giannouri, Nikos Panayiotopoulos, Daphne Vitali, George Drivas and Orestis Andreadakis.
Size: 165x225mm / Pages: 128
Printed in Greece by Colorprint Tsekouras Ltd. Βound by Androvik. Published by EMST, National Museum of Contemporary Art, Athens.
ISBN: 978-960-8349-81-0
A book after the installation of What Remains Is Future by the artist David Berge that corresponds to the archive of the choreographer Marc Vanrunxt that has been developed since 1981.
Edited by David Bergé. Contributors: Gaia Carabillo, Lieven De Boeck, Trajal Harrell, Yasmina Reggad and Marc Vanrunxt.
Size: 120x170mm / Pages: 64
Production: Kunst/Werk. Co-production: Platform 0090. Printed in Greece by Colorprint Tsekouras Ltd. Published by Big black mountain the darkness never ever comes.
ISBN: 978-618-83082-0-6
Athens Independents Art Index is an initiative that highlights and maps independent project spaces and platforms throughout the city. Since the crisis, these spaces have been important motors driving contemporary art in Athens. Independent art initiatives in Athens gathered together to create a network of contemporary art organizations that represent a cross-section of the creative forces in Athens that are flourishing, reflecting and thinking about the city and providing an interface between the Greek cultural community and the international scene. Ranging from non-profit and artist-run spaces, to residencies, community networks and curatorial projects, these independent initiatives offer broad insight into contemporary artistic production in Athens today.
Folded size: 140x200mm / Size: 560x400mm
Printed in Greece by Colorprint Tsekouras Ltd. Supported by the Schwarz Foundation.
Empty Days is a diary liberated from the marks of language. A sequence of empty pages, composed of twelve different papers, corresponds to the calendar year. The intention is to offer spatial freedom in your dealings with time. Opening into emptiness, this book can be filled as you wish. Anytime.
Published on the occation of documenta 14.
Size: 150x210mm / Pages: 384
Printed in Greece by Colorprint Tsekouras Ltd. Bound In Netherland by Stronkhorst Bookbinders. Published by Cube Art Editions and documenta 14.
A web design project introducing the choreographic and curatorial work and collaboration of Lenio Kaklea and Lou Forster.
Website design by Studio Lialios Vazoura. Developed by Stella Markidi.
The quest is to document in an artist-book a work-in-project that combines image and text. This book describes how a visual artist and composer who spends her free time in dance schools and keeps record of the dancers’ movements keeps reprocessing the same material again and again as technology advances. She learns how to write as she collects and combines ‘writing exercises’ (ètudes), switching between arts, in the same way as one who is led to explain something while ‘lost in translation’ among every possible expression or memory, and ultimately succeeds in developing definitions. —Esthir Lemi
Publication design by Studio Lialios Vazoura. Edited by Christoforos Marinos.
Size: 190x260mm / Pages: 112
Printed in Greece by Colorprint Tsekouras Ltd. Βound by Androvik. Published by Cube Art Editions.
ISBN: 978-618-81511-7-8
This is a book of fifteen different paintings of the sea. These works are about leaving, turning your back on your homeland with a longing for overseas. Being ‘at sea’ is a bit like making a painting: you are not sure if and where you will arrive. The subject and the handling of the paint in these works is within the tradition of Dutch seascapes of the 1600s. —Marian Wijnvoord
Edited by the artist.
Size: 135x180mm
Printed in Greece by Colorprint Tsekouras Ltd. Bound by Dedes Dionyssios Co. Published by Cube Art Editions.
Τhe work of Leda Papaconstantinou is a large scale installation, which will be completed in situ by the artist.
Made up of fragments of her parents’ lives and artefacts, the installation is a unique historical testimony of a family’s life course through the tumultuous 20th century. Works large and small, wood carvings, tools, memorabilia, paintings, small-scale sculptures, artefacts and fragments of the lives of Theodore and Litsa Papaconstantinou will be interwoven into a vast and unique mosaic of lives transformed by the ebbs and flows of Greek history. Living and crafting on the island of Spetses from 1966 for almost half a century, Theodore and Litsa Papaconstantinou exchanged one life for another in the wake of the Greek Civil War. They successfully turned the impasses of the era into an opportunity for renewal which they imbued with their inimitable spirit.
Leda Papaconstantinou interweaves her own works –old and new– into this large canvas, building a personal narrative out of three lives, shedding light on the relationships, forces and influences that ultimately shaped her too. With this show, a daughter honours the life, work and memory of her parents, who lived with wit, grace and inspiration and succeeded in finally turning their own lives into art.
Catalogue designed by Studio Lialios Vazoura. Text by Leda Papaconstantinou. Edited by Eleni Saroglou.
Folder size:166x221mm / Catalogue size: 165x220mm / Postcard: 140x190mm
Printed and bound in Greece by Colorprint Tsekouras Ltd. Pubished by Cube Art Editions.
In March 2015, Matthieu Banvillet, director of Le Quartz, Brest’s National Scene, invited me to curate a focus on Athens. It was the first time I received such an invitation. Puzzled at first, I thought of it as a great opportunity for me to decipher my multiple identities. I come from a Mediterranean country that struggles financially while being Europe’s eastern and southern border. I’m a woman that sometimes has to deal with sexist work environments. For the past ten years I have been living in a foreign country, France. Soon enough, I started conducting research on the dynamics of the artistic scene in Athens, the one I had left behind back in 2005. Today the country’s political situation has radically changed and so is my relation to it. As my research was progressing, what proved to be decisive in my choices was the type of relationship one builds with their community. When I left Greece, I was carrying an idealized image of a dancer being part of a dance company, but soon enough realized that this condition was becoming obsolete and had to adapt to a much more flexible, precarious and neoliberal work model. By and large, this model of individualization predominates in the current European contemporary dance scene and the dance that is being produced in Athens didn’t seem to be an exception. At least for the most part. In response to the financial crisis of 2008, a number of artists began to occupy abandoned spaces in downtown Athens in order to work collectively. —Lenio Kaklea
The book was published on the occasion of the Focus Athènes, DañsFabrik, Festival de Brest. Participated artists: Iris Karayan, Alexandra Bachzetsis, Mariela Nestora, Katerina Andreou and Lenio Kaklea.
Edit by Lenio Kaklea. Design by Studio Lialios Vazoura.
Size: 210x290mm / Pages: 72 / Edition: 70 copies
Printed and bound in Greece by Dounias SA. Published by O. Supported by abd.
Three hundred and sixty-five versions of a numbering process that develops through each day of the year. A brand new diary for 2016.
Size: 140x225mm / Pages: 376
Printed in Greece by Colorprint Tsekouras Ltd. Silkscreen cover by Pantotype. Bound by Androvik Bros. Published by Cube Art Editions.
An idea of shaping the letter ‘h’ of the latin alphabet into a piece of furniture, creating a modular display device used as a chair, shelf and table.
Concept, design by Studio Lialios Vazoura.
Dimentions: 80x60x40 cm. Made by Russian Birch Plywood 21mm and OSB/3 21mm.
The Athens Biennale, constantly intuitive towards the institution of biennales, revises its identity by extending its duration to two years. Bridging the past to the present and the future, the fifth edition of the Biennale (2015) merges with the sixth (2017). The Athens Biennale 2015-2017, a daring and experimental endeavor launches its activities in June 2015 and peaks in June 2017. In view of the critical historical juncture, the Athens Biennale 2015-2017 focuses on burning issues such as the emergence of alternative economies, the performative in the political and the establishment of institutions that redefine the systems structures and its pre-existing models, while highlighting the current views of contemporary art.
The Athens Biennale 2015-2017 arises as a reaction to the current political and social conditions and a need to activate the public through art and contemporary theoretical viewpoints. Omonoia launches a two-year period of activities that will run from June 2015 through the summer of 2017, in various venues across the Athens center, and, more specifically, at Omonoia square. The aim of this two-year period and the collaboration with the Municipality of Athens is the discovery of a permanent location for the organization’s parternships, from which point the activities of Athens Biennale 2015-2017 will take place. The creation of a cultural centre in a period of crisis and cultural reconstruction led the Athens Biennale 2015-2017 to Omonoia square and the selection of the former hotel Bageion as the symbolic starting point for the unfolding of the artistic program.
Programme Director: Massimiliano Mollona. Art direction and design by Studio Lialios Vazoura.
Sitting, Setting h exhibition illustrates and examines the development and the idea of shaping the letter “h” of the latin alphabet, into a piece of furniture, creating a modular display device for the publications designed by the studio, over the last twelve years. Posters, printings and related matters, transform and reconnect for the exhibition space as an aspect of the studio’s offprint. This research allows us to take a critical view at a series of topics such as the relationship between presentation and representation, process and outcome, introducing a social issue.
Held at Can Christina Androulidaki gallery. March 13 – March 21, 2015. Curated by Studio Lialios Vazoura.
Tarek Atoui was invited by locus athens to create a new work for Elefsina as part of the Aisxylia Festival 2015. Elefsina, site of the Ancient Eleusinian mysteries, is a post-industrial city steeped in myth on the outskirts of Athens. The project I/E Elefsis is based on his in situ investigation of the sonic landscape of Elefsina and his collective instrument I/E. Atoui invited the field recordist Chris Watson to collect the sounds of the ancient site, the port and the derelict oil factory that is now the exhibition site of the festival. These collected sounds form the basis for a new narrative of the city: a new musical composition by Tarek Atoui inspired by ‘musique concrete’ and three performances by Greek and international musicians. The improvisational dialogue between the musicians and Elefsina’s unmediated sounds will punctuate the exhibition’s timeline and reactivate the space.
Tarek Atoui is a prominent sound artist and composer. At the core of his work is an ongoing reflection about the notion of the instrument and on the act of performance as a complex and open process. Chris Watson is a key figure in field recording and founder of the Sheffield group Cabaret Voltaire. Alexandre Guirkinger is a photographer who works with different format analogue cameras.
Design and art direction by Studio Lialios Vazoura. Curated by Locus Athens.
Poster Size: 700x1000mm / Banner size: 1100x1900mm / Book size: 100x170mm / Postcards size: 176x928mm
Printed in Greece. Produced by Chantal Crousel Gallery. Supported by Aisxylia Festival.
An idea of shaping the letter ‘h’ of the latin alphabet into a piece of furniture, creating a modular display device used as a chair, shelf and table.
Concept, design by Studio Lialios Vazoura.
Red or Black. Dimentions: 40x60x40 cm. Made by Russian Birch Plywood 21mm.
An ordinary wall diary is photographed to create a new one. Each month it is placed in a different setting to focus on the recurrence of time through its movement in space. One movement, one day, one page.
Size: 140x190mm/ Pages: 416
Printed in Greece by Fotolio SA. Bound by Androvik Bros. Published by Cube Art Editions.
A book that brings together for the very first time a selection of photographs taken from the artist Paul Rondags. It focuses primarily on his beautiful series of over 300 photographs “Green Tea in a Mauve Mood” produced since 2010. The pictures he makes are isolation’s, observations of everyday life. Elements of aesthetics, mood, tone, are framed in memories and encounters of everyday life. In this way the pictures are also about him. There narrative aspects are loose, inconclusive, made by intuition rather than concept. He is looking to the point where the image is stripped from ‘the spectacular’, but have enough presence and expressiveness of their own.
Text by Gina Vodegel on a folder which is exploring the idea of being a photo storage device in a book format.
Design by Studio Lialios Vazoura.
Size: 163x215mm / Pages: 128 / English edition
Printed in Greece by Fotolio SA. Bound by Androvik Bros. Published by Big black mountain the darkness never ever comes.
Art direction and graphic design for the jewellery designer Myrto Anastasopoulou.
Same but different, is a book of flowers close to the anthology field. This project comprises of two intersecting stories – a selection of flowers from instant Polaroid pictures in dark places and a selection of flowers from instant Polaroid pictures, yet revealing themselves through the drawings.
Edit and design by Christos Lialios.
Size: 132x168mm / Pages: 88 / Edition: 200 copies which 50 of them contains an original Polaroid
Printed in Greece by Fotolio SA. Bound by Christos Lialios and Katerina Vazoura. Published by Big black mountain the darkness never ever comes.
A book of records by the artist’s father, Asbjorn Trygve Aagaard (1927-2006). In his youth he was a fisherman, seal and musk hunter, while later he became an engineer. But most of all he was an adventurer and a photographer. The descriptions are from the Norwegian Coast, Greenland and mainly from the West Ice. He treasured his experiences in the Arctic sea fully and to its limits.The last record in the book, Loss, is a novel built upon his adventures at the West Ice. He took the photographs, during his trips, with his Leica-camera. In the book are some graphic reports, at the end of his life, with a reduced capacity to write with a pen, but still with the Arctic sea in him.
Size: 133x200mm / Pages: 224 / Bilingual publication (Norwegian, English)
Printed in Greece by Fotolio SA. Bound by Androvik Bros. Published by Cube Art Editions. Supported by Norsk Fotografisk Fond.
ISBN: 978-618-80384-4-8
Eleni Mylonas, draws her inspiration from helmets worn by protestors during the Arab Spring. Hats made of household objects and garbage, constitute her commentary on the daring and imagination of the protesters. The title of the exhibition is drawn from a work by composer Manos Hadjidakis, who refers to the victory of Megalexandros (folk hero whose character holds allusions to Alexander the Great) against the terrible serpent that terrorized the country, with the intervention of Karaghiozis (hero of traditional shadow puppetry in Greece). Her works, highlight the fact that whatever crisis, whether external or personal, it may be vanquished with daring and imagination.
Book-catalogue design by Studio Lialios Vazoura in collaboration with the artist. Edited by Eleni Saroglou. Texts by Lilly Wei and Christina Petrinou.
Size: 150x190mm / Pages: 40
Printed in Greece by Fotolio SA. Bound by Androvik Bros. Published by Cube Art Editions.
ISBN: 978-618-80384-9-3
An independent publishing project based in Athens, Greece, founded in 2013 by designers Christos Lialios and Katerina Vazoura.
Website design by Studio Lialios Vazoura. Developed by Stella Markidi.
Works that are on the verge of two worlds in action. Against the all-embracing vulgarity, we become magicians, hoping to approach reality from a different angle. We find refuge in alchemies; we create an imaginary world by changing and transforming the familiar. This series of works were made using pencils, watercolors and threads, on handmade paper. They were created with attention to detail, which mirrors our fragile and uncertain existence posing questions about our passage through space and time. Once an image is conceived and registered, we try, over and over again, with japanese-like persistence, to decode it. It may then be that we have touched upon something. Thoughts, one may call them feather-like, are born from random notes and slowly, gradually, they turn into a statement. Our world is made of fleeting images. Some deal with the handling of loss, the removal of its load. Others, magical, marvelous ones to be kept close at hand for a journey that is frequently rough, its destination unknown. Suitcases. Our luggage, as an archetypal carrier, is loaded with their history, with our history. —Vanessa Anastasopoulou
A group of pages with eight drawings of Vanessa Anastasopoulou, according to her exhibition at the Zoumboulakis Gallery.
Size: 155x240mm / Folded size: 310x240mm / Pages: 10
Design by Studio Lialios Vazoura. Printed in Greece by Fotolio SA. Silkscreen cover by Pantotype. Published by Cube Art Editions.
Kivland invites us to go on holiday, with Freud: up mountains, we walk; through streets, along the lake. We pick mushrooms. We go on adventures. Sometimes, we lose our way home. We digress. Interweaving meticulous historical research, Kivland’s own retracing of Freud’s steps and her personal memories, this is a creative reimagining not just of “Freud on Holiday”, but of the nature of biography itself. Poignant, evocative, passionatethis is a dream of a book. —Steve Pile, The Open University, UK
Sharon Kivland is an artist and writer. In a series of books and related works she has followed Sigmund Freud on holiday. The last book A Cavernous Defile with Lucia Farinati has been published by Cube Art Editions, and therein are a number of walks, an excursion in the mountains, mushrooms, and two Lucias, alive and dead.
Size: 145×230mm / Pages: 144
Printed in Greece by Fotolio SA. Bound by Androvik Bros. Published by Cube Art Editions.
ISBN: 978-618-80384-7-9
A diary based on the idea of recycling three of our previous used diaries – Same Day, Same Time, Different Moon (2010), Halfway to the Square (2012) and From Athens With Love (2013) – that were rescanned, knocking out any personal information with a white square. It also contains twelve different sheets of wrapping paper designed in the 60’s and 70’s. The diary was launched with a poster containing pages from the used diaries with the personal information uncovered.
Concept and design by Christos Lialios in collaboration with Katerina Vazoura.
Size: 150x220mm / Pages: 192
Printed in Greece by Fotolio SA. Silkscreen cover by Pantotype. Bound by Katerina Vazoura and Androvik Bros. Published by Cube Art Editions.
ISBN: 978-618-80384-8-6
I have always been interested in the language of the image, moved by this work, the presence of which can raise certain questions. More than exhibiting an artwork, I prefer to observe, to act, to intervene in such a way that the result is truly something minimal but of the utmost dynamism; and by utmost dynamism I mean the utmost opportunity for one to be able to be present. You are exhibited opposite him (the viewer) who must discover this place, by giving a sign, working in a space that is truly emphatic. Thus, as one musical note follows another, the eye is directed slowly, slowly there, to where there is a small marvel of a something, which is not seen outwardly and which is to reveal itself. In this sense, I believe that the ‘given’ exhibition space could be very interesting when viewed critically. After that, it should be necessary to discover other possibilities as well, where something could change ever so slightly, where it may still even be almost impossible to exhibit. The truth is that what I desire is not answers, rather the opposite, namely, to generate questions through presentation. I like to work in a way that is direct, transparent, seemingly simple, almost letting things reveal themselves, that’s what interests me most. Furthermore, history concerns me deeply (in relation to its making a statement on current reality), that particular kind of human record, of this (via art) continuum: To make so as to be able to see, that is, to be able to take the risk of beginning something without knowing how it will turn out in its final form. —Athina Ioannou
Complete with an essay of Denys Zacharopoulos, this publication presents the work of the artist Athina Ioannou.
Size: 165x235mm / Pages: 152
Printed in Greece by Fotolio SA. Bound by Androvik Bros. Silkscreen cover by Pantotype. Published by Cube Art Editions.
ISBN: 978-618-80384-6-2
Den (Not) is about visual stories that are presented in the form of a book, relating to the idea of escapism, in a literal or fantastic flight. Three persons realise the escapes in the book. First is the writer/artist herself using an art proposal for an unfeasable journey/artwork in the north of Europe. As for the other two persons, the magician Harry Houdini and the Douccess of Plakentia – who appears in the book with her actual name, Sophie de Marbois Lebrun – Konti searched and assembled biographies, photographs and in site research material that she finally assembled in fiction.
Edited by Maria Konti and Christos Lialios. Design by Christos Lialios. Texts by Maria Konti.
Size: 210×297 mm / Pages: 64 / Edition: 300 copies
Printed in Greece by Fotolio SA. Bound by Androvik Bros. Published by Cube Art Editions.
ISBN: 978-618-80384-3-1
Vangelis Vlahos’ poster Seven Archaeologists: From Standing to Bending Position consists of eight photo images of archaeologists who have worked in Greece over the last sixty years. The artist discovered the pictures in the archives of various Foreign Archaeological Schools operating in Greece as private cultural institutions. Vlahos focuses on images whose chronology places them within the bounds of Modern Greek history and depict archaeologists at work, studying, measuring, examining, and surveying the progress of work on the excavations carried out in Greece.
Poster design by Christos Lialios and Vangelis Vlahos as a part of the work Foreign Archaeologists from Standing to Bending Position.
Size: 700x1000mm
Printed in Greece. Commissioned by A Gathering project.
Twelve months for twelve typefaces – lettering – fonts the studio designed during the last 12 years since 2000. The idea behind this diary turning to an agenda is to organise time and days through various styles and forms of letters. Every font makes a monthly section.
Size: 140x200mm / Pages: 416
Printed in Greece by Colorprint Tsekouras Ltd. Βound by Androvik. Published by Cube Art Editions.
Lizzie Calligas opens an archive of images that she has been collecting for more than a decade. The project At the Xenia Hotel in Andros, 2001-2012 [An Archive Opens] aspires to more than being purely an exhibition. By intent, it is comprised of only part of the archival material collected by Lizzie Calligas who, from 2001 to 2012, kept a record of the condition and the damage suffered by the Hotel Triton (Xenia Andros) of Aris Konstantinidis. Calligas lays emphasis on the power and ability of photography to create history, exactly because of what it documents. Evidently, a photograph is a transitional impression of reality which, in any case, can never be only one. Here however, Calligas does not simply collect photographic material but brings added significance to the original material by creating an archive of images. Moving beyond the art of recording history, evidence and memories, she acts as mediator between the past and present with an archive that documents but also interprets, suggesting new stories through the artistic experience. By reenergizing the past in photographic and archival form, she speaks not only for that past but also makes a statement on how alive and open it can be to reading, interpretation and even application.
Texts by Eugenia Alexaki, Lizzie Calligas, Joulia Dimakopoulou.
Size: 125×178mm / Pages: 112
Printed in Greece by Fotolio SA. Bound by Androvik Bros. Published by Cube Art Editions.
ISBN:978-618-80384-2-4
The existence of forgetting has never been proved: We only know that some things don’t come to mind when we want them. —Friedrich Nietzsche
Size: 700x1000mm / Edition: 10 copies
Printed in Greece in silkscreen by Pantotype.
Within the flexible limits of archival art today, Archive Public practices archival art as intervention in public space, questioning the dominant hegemony and allowing for possibilities of solidarity actions. The book includes theoretical hypotheses on archival practice in contemporary art, art works that were specifically created for the project, as well as an anthology of essays by contemporary thinkers who elaborate on particular issues of the archive in relation to the public sphere and theories of democracy, the notions of institution and instituting practice, interventions in the shifting urban condition, the philosophy and archaeology of media as well as the global flows of migration and media. Interventions focus on the urban and social condition of Patras, as it is influenced by a translocal dynamics which produces interrelations with other localities.
Participating artists: Yota Ioannidou, Maria Konti, Gregorios Pharmakis, Lina Theodorou, Stefanos Tsivopoulos, Vangelis Vlahos and Nayia Yiakoumaki.
Edited by Panos Kouros and Elpida Karaba. Texts by Arjun Appadurai, Ioannis Chorianopoulos, Wolfgang Ernst, Boris Groys, Elpida Karaba, Panos Kouros, Oliver Marchart, Gerald Raunig and Saskia Sassen.
Size: 165×240mm / Pages: 280
Printed in Greece by Colorprint Tsekouras Ltd. Βound by Androvik. Published by Cube Art Editions and Department of Architecture, University of Patras.
ISBN: 978-960-99662-7-6
A workshop with lectures about graphic design. It took place in Athens. It was attended by forty-six students from the third year class of graphic design of Vakalo Art and Design College. Thanks to everyone who took part!
Organised by Christos Lialios.
Dimitris Skalkotos, accomplished marble sculptor from the island of Tinos, creates a poem through space, displaying a string of evocative words carved in marble throughout the lower floor of the gallery. The concepts of Light, Eternal, Memory, Woman, Limit, Source, Alone, Sound, Departed, Consistency, Sunset have been selected from a set of poems by psycho-analyst Grigoris Maniadakis titled “Fotagogos”. Together, the words as a sequence form a story whereas their individual shapes stress the deeper meaning of each one of them. The marble interpretations are placed on wooden makeshift pedestals as if the visitor were to walk into the studio of the artist during the hours of labour.
Design based on an idea of file note. Every card contain images of works, images during the process and the poems. This kind of file note is used to record all the details of work during the exhibition.
Size: 210x229mm / Set of six cards
Printed in Greece by Colorprint Tsekouras Ltd. Supported by Siakos/Hanappe House of Art.
A pocket size diary based on a triangle ‘half-square’ pattern system. The diary was launched with a poster.
Size: 122×186mm / Pages: 352
Printed in Greece by Fotolio SA. Βound by Androvik. Published by Cube Art Editions.
Iconic images from childhood cartoons and film occupy a particular place: as shared and repeated, they are anonymous products, yet at the same time nothing can be more personal, as they mark moments from our early lives, lending a form to aspects of our histories that may be too difficult to remember. Emerging sexualities, rivalries, broken romances and violence, after all, are the latent texts of childhood cinema. And these are the building blocks of Loukia Alavanou’s work. Alavanou’s practice involves visual and acoustic collage. She takes elements from usually well-known movies, together with static images from personal and social sources, and subjects them to a dramatic choreography. Often emerging from an intense black background, the images move with a startling vitality and colour, and as we watch them we experience an unsettling reversal: charm becomes terror, hope becomes despair and clarity becomes confusion. Acoustically, there is a parallel process: the continuity of sound becomes discontinuity, and the beauty of a perfectly pitched human voice becomes stark and tragic. Sound cuts, divides and invades. Strange intrusions punctuate both the visual and acoustic threads, indexing a reality much closer to ourselves than what the products of popular culture apparently convey. Alavanou uses the very material designed to protect us from what is most real as a means to articulate and perhaps transmit it. —Darian Leader
The book Krazy Kut. A Case Without a Body by Loukia Alavanou was published by Cube Art Editions and Aeschylia Festivall 2011 on the occasion of the exhibition Episodio 3 at the Leonidas Kanellopoulos Cultural Centre of the City of Elefsina, in September 2011.
Texts by Darian Leader and Antonios Bogadakis.
Size: 170x230mm / Pages: 96
Printed in Greece by Colorprint Tsekouras Ltd. Βound by Androvik. Published by Cube Art Editions.
ISBN: 978-960-99662-2
The third volume in the series “Freud on Holiday” describes a number of holiday choices; the problem of deciding where to go and when; plus the matters of cost, convenience, appropriate companionship and correct context. There are descriptions of train itineraries, hotel rooms and restaurant menus, even though the name of one restaurant resists recall for most of the book. There is a surprising connection with hysteria and another name is forgotten en route, accompanied by an embarrassing error in chronology. At last, forgotten names are remembered, although an image that has been talked away is not seen again. —Sharon Kivland
Texts by Sharon Kivland. Design by Christos Lialios.
Size: 145x230mm / Pages: 48
Printed in Greece by Colorprint Tsekouras Ltd. Βound by Androvik. Published by Cube Art Editions and Information as Material.
ISBN 978-1-907468-06-3
The second workshop on Looping. A Book for Children took place at the 13th Nursery School of Athens with a class of twenty six children of six, years old. No instructions were given.
It has been made possible through the support of the following teachers: Dionysis Paraschis, Fani Mavromichalis, Katherine Farmakis and Eleni Bokolas.
The DESTE Prize was established in 1999 as part of the Foundation’s policy of supporting and promoting contemporary art in Greece and is awarded every two years to a Greek artist living in Greece or abroad. For the second time, the DESTE Foundation will collaborate with the Museum of Cycladic Art that is to host the exhibition of works by the six shortlisted artists for the DESTE Prize 2011. This collaboration is part of an initiative taken by the Museum of Cycladic Art, whose project Young Views aims at launching dialogue with a younger generation, at keeping the public up to date on contemporary art production and at ensuring the dynamic presence of a space for the exchange of ideas.
The Selection Committee comprises of: Polina Kosmadaki (curator), Nikos Navrides (artist), Dimitris Palaiokrassas (art historian), Iasonas Tsakonas (collector), Stelios Vellis (journalist), Yerasimos Yannopoulos (collector). The DESTE Prize Jury comprises of: Dakis Joannou (president, The Deste Foundation), Madeleine Grynsztejn (director, Museum of Contemporary Art, Chicago), Kasper Koenig (director, Museum Ludwig Kolh), Jessica Morgan (curator, Tate Modern, London), Sarah Thornton (journalist) and Andro Wekua (artist).
Shortlisted artists: Alexandra Bachzetsis, Anastasia Douka, Irini Miga, Eftichis Patsourakis, Theodores Stamatogiannis and Jannis Varelas. Design by Christos Lialios.
Printed in Greece. Production by DESTE Foundation for Contemporary Art.
A diary/book based on a record of proceedings seeking ways of organizing and manipulating time.
Size: 220x158mm / Pages: 92
Printed in Greece by Fotolio SA. Bound by Androvik Bros. Published by Cube Art Editions.
ISBN: 978-960-98318-9-5
Wall of Sorrow / Wall of Joy, Aagaard’s permanent sculpture-installation is specially designed for the public recreation area and promenade on Lake Mjøsa. In fact, they are not walls, but open frames, set 2.7 meters apart, the same measurement as their height and width, creating an open cube. Their bright signal-red color, the color of passion, contrasts with the natural cool greens and blues and creates a focal point for visitors. The structures also function as benches, where passersby can rest, reflect, converse, mourn, rejoice and embrace. The open forms encompass the landscape, concentrating all these joys and sorrows while also allowing them to circulate freely in the environment.
Booklet designed according her new work. Essay by Andrea Gilbert.
Size: 150x210mm / Pages: 16
Printed in Greece by Fotolio SA. Bound by Androvik Bros.
Photo by Marit Anna Evanger.
Lizzie Calligas’ photographs at the old Acropolis Museum are records of an in-between state, subtly inflected by her individual artist’s gaze: they reflect the emptiness a recently defunct space, turned from permanent exhibition venue into a site temporarily hosting the masterpieces of ancient sculptures so that they can be listed, receive conservation treatment by expects, be crated and safely moved to the new Museum. It is a turning point, in a place that is neither here nor there. Invested with their protective white cover the statues are transformed, the meaning of their shrouded forms replenished with new associations by the play of light and shadow. —State Museum of Contemporary Art, Thessaloniki
Edited by Eleni Saroglou. Texts: Claire MacDonald, Christina Petrinou, John Stathatos, Syrago Tsiara, Aliki Tsirgialou, and Christina Vlassopoulou.
Size: 210×270mm / Pages: 128
Printed in Greece by Kontorousis Bros Ltd. Bound by Kalogridis Konstantinos. Published by Cube Art Editions, SMCA and Benaki Museum.
ISBN:978-960-93-1934-8
A limited edition wall calendar based on the concept of the Same Day, Same Time, Different Moon diary 2010. The wall calendar consists of 4 sheets 700x1000mm size, packed in a tube.
Concept and design by Christos Lialios.
Printed in Greece by Kontorousis Bros Ltd. Published by Cube Art Editions in an edition of 40.
ISBN: 978-960-98318-8-8
A diary recycled from a fine pocket diary of 1954. It follows the same information, same dates, but different moon phases. Each page on the diary contains the corresponding one of the old diary.
Concept and design by Christos Lialios.
Size: 120×170mm / Pages: 376
Printed in Greece by Kontorousis Bros Ltd. Bound by Androvik Bros. Published by Cube Art Editions.
ISBN: 978-960-98318-8-8
This book is the body of an eye witness: a vertical “female” body with clean lines running across it and a black cover. Her testimony comprises the following three elements: the title,Nine, which corresponds to the number of artworks created between 2005 and 2008; a selection of images from the visual archive compiled as a result of the research that accompanies each of the artworks, and, finally, the essays, arranged in chronological order. The source of this testimony is ambivalent, and perhaps so are its intentions. For it lies somewhere between literary experimentation, art theory and autobiographical narrative. As all forms of narrative testimony, it is unable to describe the experience of the “real” event, while vehemently aspiring to compel a reading; that is, a re-interpretation. —Maria Konti
Edited by Christos Lialios and Maria Konti. Texts by Maria Konti.
Size: 160x224mm / Pages: 188
Printed in Greece by Kontorousis Bros Ltd. Bound by Androvik Bros. Published by Cube Art Editions.
ISBN: 978-960-98318-6-4
Book-catalogue published on the occasion of the exhibition Betwwen Facts and Politics by Vangelis Vlahos held at the Prometeogallery di Ida Pisani, Milan.
Edited by Christos Lialios and Vangelis Vlahos. Essays by Marco Scotini and Aristide Antonas.
Size: 120x165mm / Pages: 64 / English edition
Printed in Greece by Kontorousis Bros Ltd. Bound by Androvik Bros. Published by Prometeogallery di Ida Pisani.
When faced with a library, an archive or simply any large databank, the artist must be clear about his/her purpose before starting the quest for the ultimate documentation or representation. Any enquiry into the nature, focus, and inspiration of research results in as many individual responses as there are respondents. Some artists follow self-imposed methods, others lean on far more emotional and intuitive processes Artists sift through historical information with a social, economic, or political content to construct identities and gain understanding while relying on a subjective approach which does not necessarily provide answers; it reveals. It is not concerned with the exact nature of reality or truth but rather with our perception of it. Artists constantly challenge received knowledge with alternative histories based on personal memory and experience. Artists make choices not according to a certain methodology or by intuition, but following a path with its own inner logic. The next picture has to add to the context of the whole. It is not a random process, it is a guided one that ultimately tries and creates a level of recognition. If partial knowledge accepts that we need to solve a problem on the basis of facts that are not entirely complete, then selective knowledge talks about the conscious choice to reject, select, and accept on the basis of need, desire, and expectation, until a story unfolds. Rather than starting from large systems and accepted truths from which political, economic, and social developments are analyzed, the artists in the exhibition adapt the synthesizing character of the curiosity cabinet. Many bits and pieces allow for associations and interpretations. The extent to which the academic world, more and more intent on drawing in the arts institutions, can respond to this changing and often conflicting approach to knowledge is part of the broader debate around the present state of education. —Els Hanappe
Participating Artists: Mark Dion, Apostolos Karastergiou, George Hadjimichalis, Mark O’Kelly, Christian Boltanski, Pietro Roccasalva, Albert Oehlen, Candida Höfer, Nina Fischer and Maroan El Sani, Armin Linke and Peter Hanappe, Henrik Olesen, Allen Ruppersberg, Eirene Efstathiou, Ivan Grubanov, Sam Durant and Vangelis Vlahos.
Art direction and book-catalogue desing on the occasion of the exhibition Selective Knowledge held at the National Bank of Greece Cultural Foundation from 2 April to 20 July 2008. Curated by Els Hanappe.
Size: 150x210mm / Pages: 112
Printed in Greece by Fotolio SA. Bound by Th. Iliopoulos – P. Rodopoulos Ltd. Organized by ITYS. Published by MIET.
ISBN: 978-960-250-394-2
Lizzie Calligas transforms the seascape, through an aesthetic process, into a landscape. This book-catalog of seventeen images is the body of the artist’s new work presented at the Hydra Museum of History and Archives from June 7 to July 12, 2008.
Text: Christina Petrinou.
Size: 170×240mm / Pages: 54
Printed in Greece by Kontorousis Bros Ltd. Bound by Androvik Bros. Published by Cube Art Editions.
ISBN: 978-960-98318-0-2
The sunset drawings are made with graphite on wallpaper, mounted on plasterboard. The sunset is brought into notice through an impression of the moment (fragment) in duration (monument). The work is revealing it’s utopic characteristic by trying to sketch only one sunset from memory, though it is unable to record the setting. —Kostas Bassanos
The book 19:44 by Kostas Basanos, was published on the occasion of his exhibition Nowhere at the Ileana Tounta Center for Contemporary Art, in December 2008.
Size: 160x205mm / Pages: 64
Printed in Greece by Kontorousis Bros Ltd. Bound by Androvik Bros. Published by Cube Art Editions.
Twenty books contain a lithograph signed by the artist.
ISBN: 978-960-98318-4-0
Sharon Kivland is an artist and writer. For several years she followed “Dora”, Freud’s young hysteric, also passsing through the arcades and department stores of Paris (where she encountered Marx, Lacan, and Benjamin, while pursuit of a certain look, a certain object). She continues to return to the sites of her former encounters, while adding new haunts to her repertoire. Her work has mutable forms, and has been exhibited and published widely. Like Sigmund Freud and his brother, Sharon Kivland and her sister go on holiday together each year. In Trieste in 1904 Sigmund Freud and his brother determine to go to Corfu but are told by their host it will be too hot and they should go to Athens instead. Any change of plan seems impractical, but they succeed in booking tickets for Athens. When Freud arrives in Athens and stands on the Acropolis he is surprised to find himself thinking: ‘So all this really does exist, just as we learnt at school!’ His surprise is twofold; first, that something unbelievable exists, and secondly, that its existence should have been in doubt In A Disturbance of Memory, Sharon Kivland and her sister, accompanied also by Kivland’s son, follow the Freud brothers to Trieste and Athens, but are frequently diverted by other traces, including those of James Joyce, Jacques Derrida, Italo Svevo, and Ulysses.
Text by Sharon Kivland.
Size: 145×22mm / Pages: 184
Printed in Greece by Kontorousis Bros Ltd. Bound by Androvik Bros. Published by Cube Art Editions and Information as Material.
ISBN: 978-960-87354-9-1
ISBN: 978-0-9553092-3-6
Catalogue published on the occasion of Makis Theofylaktopoulos exhibition at Ileana Tounta Contemporary Art Center in November 2007. It includes photographs of artist’s paintings and an introduction text by Julia Tsiakiris.
Edited by Eleni Saroglou. Design by Christos Lialios. Catalogue wrapped into a poster work.
Size: 200x240mm/ Pages: 64
Printed in Greece by Kontorousis Bros Ltd. Bound by Androvik Bros. Published by Cube Art Editions.
Publication series with studies on paper. The title is taken from the phonetic form of the word “type”. Each publication explores a different letter from the Latin alphabet in random way. Under modern circumstances of display and reproduction, Untitled, is a kind of Title. A word that routinely accompanies the work as it circulates in the culture and that instructs us, if only by negation, how to view it.
Size: 200x200mm / Edition: 30 copies
Printed in Greece using Xerox photocopy.
“Her(his)tory” addresses the major issues faced by society in the contemporary world. It will comprise of artworks which comment – with a poetic and in cases humoristic view – on questions such as the profile of contemporary woman and man, and on the vast geopolitical contemporary arena today. The idea is to present works that will intrigue the interest around human culture and will promote the diversity found in the synthesis of various personal stories, the intersection of ‘private’ and ‘public’, and the comprehension of the ‘historical truth’ through everyday life experiences. —Marina Fokidis
Catalog design on the occasion of the eponymous exhibition at the Museum of Cycladic Art. Curated by Marina Fokidis.
Participating artists: Viktor Alimpiev, Paolo Canevari, Haris Epaninonda, Douglas Gordon, Rodney Graham, Gary Hill, Isaac Julien, Peter Land, Annika Larsson, DeAnna Maganias, Miltos Manetas, Aernout Mik, Tony Oursler, Oliver Pietsch, Angelo Plessas, Seth Price, Anri Sala, Yorgos Sapountzis, Zineb Sedira, The Atlas group (Walid Raad), Lina Theodorou, Adel Abdessemed, Doug Aitken, Darren Almond, Cory Arcangel, Paul Chan, Marina Gioti, Bruce Nauman, Stefanos Tsivopoulos.
Size: 170x240mm / Pages: 200
Printed in Greece by Kontorousis Bros Ltd. Bound by Androvik Bros. Published by the Museum of Cycladic Art.
Artistic direction and design for the Hedah Center for Contemporary Art in Maastricht in collaboration with Boy Bastiaens, Linda Maissan, Norbert Grunsch, Ben Leenen, Vladimir Pihler, Paul Drissen, Eunice Pekelharing. The idea of invitation cards is based on the location of Hedah, Brusselsestraat. We asked several local artists and designers to take a photo of this street in order to communicate the place and time. Hedah Maastricht, Center for Contemporary Art, was launched in October 1995. Since then, it has been a platform for contemporary, international developments in the visual and related arts in Maastricht. It offers recent developments in art to the public, but also creates opportunities in Maastricht by providing inspiring workspaces and exhibitions for artists.
Postcard photos by Boy Bastiaens, Linda Maissan, Norbert Grunsch, Ben Leenen, Vladimir Pihler, Paul Drissen and Eunice Pekelharing.
The font “Toht Zeens” was designed by the studio for the applications of the project.
Spot is based on the idea of binding together contemporary art projects coming from around Europe and the South Eastern Mediterranean in the format of a periodical publication. For each issue, the publication invites a range of cultural producers and art professionals from these areas to write about their projects and activities as well as about their visions, their source of inspirations, models, successes and difficulties. Through the choice of this specific lens, Spot wants to understand what is produced, thought, and done in contemporary art and cultural production in different areas of Europe, avoiding the conventional writing in terms of centers and peripheries, in and out, global identity and multiculturalism.
Edit by Stefanos Tsivopoulos. Contributors: Fulya Erdemci and Emre Baykal, Martin Kippenberger, Samar Martha, Maria Papadimitriou and Michel Wurtler, Kyong Park, Sara Rajaei.
This issue includes texts and images from Istanbul Pedestrian Exhibitions 2: Tünel-Karaköy, Momas, Lost Highway Expedition, Routes… Report from the Land of Dreams and Artschool Palestine: As if by Magic.
Size: 145x210mm / Poster size: 580x420mm / Pages: 80
Printed in Greece by Kontorousis Bros Ltd. Bound by Androvik Bros.
Supported by Catherine Cafopoulos.
“Made After Story” is a process and a moment, an ensemble and a fragment, a short and endless narrative. It’s a silkscreen poster which becomes an environment through its repetitive use; the ensemble serves as a patterned background for a found photograph of a disguised little girl. With layers of lines and graphic motifs, Christos Lialios combines an austere approach with handmade details and childlike spontaneity; the reduced range of colors echoes the poetic quality of the print. It is on display as a take-away stack, at the disposal of the audience. Ephemeral, it still exists beyond the exhibition context and each visitor can then activate his own transitory space, his on-going narrative. While the reduced range of colors echoes its dream-like character. —Ghislaine Dantan
Wallpaper and installation for the group exhibition Dialogoi VI-Dokimes IV curated by Ghislaine Dantan held at Amore Theatre from 04.05.2007-30.05.2007.
Participating artists: Stelios Dexis, Christos Lialios, Vasilis Mpalatsos and Myrsini (Myrto) Vounatsou.
A notebook made by scanning different formats of other selected notebooks.
Size: 110x162mm / Pages: 100 / Edition: 600 copies
Printed in Greece by Kontorousis Bros Ltd. Bound by Androvik Bros. Produced by Hartovasilion.
Featuring Athens-based artists and young creatives, “Anathena” highlights a dynamic aspect of local contemporary artistic production that has its affinities with street and music culture. It presents works largely unknown to the city’s mainstream art world, as these artists have long been using their own self-devised production and distribution mechanisms and channels. Most of the participating artists work professionally in diverse areas, such as graphic and web design, film, and music. Their work draws from different aspects of what is broadly termed “visual contemporary culture” and is frequently community-based, growing from social networks and friendships, common influences, and taste. Their work does not represent a movement or a self-manifested scene, but rather artistic undercurrents. They do not necessarily work together and the majority of them do not insist on labelling what they do as “art.” This self-exclusion from the local art establishment is, in a way, an “anathema.” Lacking the polemic and anger usually related to the term, this “anathema” is gentle, and suggests more an attitude of romantic indifference rather than one of dogmatic denouncement. —Marina Fokidis, Marina Gioti
Curated by Marina Fokidis and Marina Gioti. Held at DESTE Foundation for Contemporary Art, from October 20, 2006 to February 17, 2007.
Book-catalog design on the occasion of the exhibition. Edited by Marina Fokidis and Christos Lialios. Participating artists: b., Black & Decker, Vassilis Botoulas, Alexandros Dimitriadis, Dimitris Emmanouil, The Erasers, Stelios Faitakis, Stylianos Georgiou, Marina Gioti, Andreas Kassapis, Filippos Kavakas, Panos Koutrouboussis, Fotis Kouzinos, Christos Lialios, Lo-Fi, Dimitris Merantzas, Andreas Mouzakitis, Pantelis Pantelopoulos, Stavroula Papadaki, Dimitris Papadatos, Fivos Papadopoulos, Nektarios Pappas, Marios Perrakis, Angelo Plessas, Natasha Poulantza, Dimitris Protopapas, Hercules Renieris, Ioakim Sidiropoulos, Giorgos Tourlas, Andreas Vais, Lefteris Yakoumakis and Zoe Zillion.
Size: 170x240mm / Pages: 312
Printed in Greece. Published by Metaichmio.
ISBN: 978-960-455-151-4
The curators of Destroy Athens note in the introduction: As the first step in curating the 1st Athens Biennale Exhibition, Destroy Athens, this appropriation of excerpts is intended to form an open narrative. At the same time, it is a conceptual toolbox; a treasure hive; or a book of spells. It is to be read as a series of suggestions that imply different – even contradictory – possibilities at every turn, and that embrace – even reluctantly – the difficulty one might face when attempting to support or further alternatives.
The first companion publication for the 1st Athens Biennale 2007 Destroy Athens, titled Suggestions for the Destruction of Athens – A Handbook, is a conceptual guide for the process leading up to the Destroy Athens exhibition, in September 2007.
Selected texts by Xenia Kalpaktsoglou, Poka-Yio and Augustine Zenakos.
Edited by Augustine Zenakos. Editorial Coordination by Theophilos Tramboulis. Design by Christos Lialios.
Size: 115x175mm / Pages: 48
Printed in Greece by Kontorousis Bros Ltd. Bound by Androvik Bros. Published by Futura Publications.
ISBN: 960-6654-30-3
Participation with the Taip project in the group exhibition Anathena, held at the DESTE Foundation for Contemporary Art, Athens, Greece from 20.10.2006 – 20.01.2007.
Featuring Athens-based artists and young creatives, “Anathena” highlights a dynamic aspect of local contemporary artistic production that has its affinities with street and music culture. It presents works largely unknown to the city’s mainstream art world, as these artists have long been using their own self-devised production and distribution mechanisms and channels. Most of the participating artists work professionally in diverse areas, such as graphic and web design, film, and music. Their work draws from different aspects of what is broadly termed “visual contemporary culture” and is frequently community-based, growing from social networks and friendships, common influences, and taste. —Marina Fokidis and Marina Gioti
Curated by Marina Fokidis and Marina Gioti. Artists: b., Black & Decker, Vasilis Botoulas, Alexandros Dimitriadis, Dimitris Emmanouil, Erasers, Stelios Faitakis, Stylianos Georgiou, Marina Gioti, Andreas Kasapis, Filippos Kavakas, Panos Koutrouboussis, Fotis Kouzinos, Christos Lialios, Lo-Fi, Dimitris Merantzas, Andreas Mouzakitis, Stavroula Papadaki, Dimitris Papadatos, Fivos Papadopoulos, Pantelis Pantelopoulos, Marios Perrakis, Angelo Plessas, Natasha Poulantza, Dimitris Protopapas, Hercules Renieris, Ioakim Sidiropoulos, Giorgos Tourlas, Andreas Vais and Lefteris Yakoumakis.
Limited edition t-shirt design.
Available sizes: S-M-L / Edition: 30 copies / 100% semi-combed cotton jersey
Printed with silkscreen printing in Athens at the studio of the artist Pantelis Pantelopoulos.
Ohne Titel, 1916 is an emotional collection of fragile melodic patterns, played out on basic piano and keyboard with some very slight electronic treatment, there’s a real feeling of honest depth and great sorrow. Written after the death of his day old daughter Fanny, it puts across the feeling of emotional numbness and learning to coping with the passing of a loved one. It’s certainly not all morbid or sorrowful, the tracks often capture fondness and wonder of life it’s self and of the need and effort to move on. I can’t quite put my finger on how he’s done it, but Flim really seems to have weaved so much depth and power of emotion into each of these delicate sounds works. —Roger Batty
Package design of audio compact disc for the German artist Enrico Wuttke. The title of the album, Ohne Titel 1916, has been borrowed from a work by Paul Klee, from a series of about 50 hand puppets the artist created for his little son Felix between 1916 and 1925. Only one puppet was made during 1916, the one representin Mr. Death to which the title refers. The design on the cover of the album shows the hand inside the puppet.
Package size: 125x125mm
Printed in The Netherlands. Produced by Plinkity Plonk Records (Plonk 20).
In Vlahos’ work, all those layers of meaning are evoked, but not successively as in a text, but simultaneously, in paralysed anticipation of the flash of the blast. It is a sudden shock, which freezes time, and thus also elucidates the other materials compiled within the work, such as archival materials and pictures. The work expresses this unique historical moment in a peculiar way not, as Walter Benjamin once wrote – focussed on the way things really were, but presented through the lens of a specific moment of danger. For Benjamin, grasping a memory which flashes up in a moment of danger means to actualise this memory in the present instead of using the usual taxidermic and historicist approach towards things past. It means to expose its contemporary importance instead of the dead weight of a hegemonic construction of history. —Hito Steyerl
Book design for the artist Vangelis Vlahos, on the occasion of the 27th Biennial of Sao Paulo in Brazil. It contains photographs from six artist’s projects: Buildings that proclaim a nation’s identity to the world should not be missunderstood (2003), Brady Kiesling archive with three scale models of the U.S. Embassy of Athens (2003), Three scale models of the U.S. Embassy of Athens (in half) (2004), Buildings like texts are socially constructed (2004), Athens tower (2004) and New markets require new structures (2005).
Essays about the work by Magali Arriola, Hito Steyerl and Despina Zefkili.
Size: 140x195mm / Pages: 72 / Bilingual publication (Greek, English)
Printed in Greece by Kontorousis Bros Ltd. Bound by Androvik Bros. Published by The Hellenic Ministry of Culture.
ISBN: 960-214-568-4
They couldn’t be more different. The bus driver is an extrovert who loves food, dance, friends. The school teacher is an introvert who has trouble expressing an opinion on any subject. Yet somehow the spirit of Christmas works its gentle magic. —Konstantinos Frangopoulos
Title sequence and poster for a short film directed by konstantis Frangopoulos. The poster presents the senario of the film.
Konstantinos Frangopoulos. Ioulia Bittou, Konstantinos Frangopoulos.
Romance, 35mm, colour, 12′
Font design by Christos Lialios.
Spot is based on the concept of binding together art projects coming from around Europe and the South Eastern Mediterranean. The aim is to provide a platform for cultural dialogue, expression of visions, and research concerned with issues around the folklore and the multicultural, the central and the peripheral, the political and the poetical. It’s a non-commercial publication distributed in Museums, Art Centres and Cultural Organisations around Europe.
Edit by Stefanos Tsivopoulos. Contributors: Clare Davies, Plamen Dejanof, Antonia Majaca, Roula Palanta, William Wells and Rana Zincir. The publication includes four projects based in the concept of ‘local identities’. These are MUMOK House, Downtown Gallery, Going Public and Leaps of Faith. Each project comes as an individual book of 16 pages.
Size: 145x210mm / Pages: 64
Printed in Greece by Kontorousis Bros Ltd. Bound by Androvik Bros.
Supported by Larissa Contemporary Art Center, Traders Pop gallery and Manifesta International Foundation.
La rencontre avec un livre de Christos Lialios est une petite aventure en soi. Un joli moment.Intriguant et lubique. Perplexe d’abord, le futur lecteur tient dans les mains pour tout livre un object fermé, un paquet qui contiendrait un livre ou, plus exactement, un livre qui est lui-même son propre emballage, son contenant et son contenu. Le défi est de l’ouvrir, pour cela il faut le deetruire un peu, l’abîmer tout au moins. L’artiste vous rassure tout de suite: cela fait partie du livre lui-même qui devient ainsi le vôtre car la manière de l’ouvrir reflète la personnalité du lecteur et transforme physiquement l’objet en une pièce absolument unique. Ensuite il y a la découverte du cotenu, feuille à feuille, libres, que l’on tourne respectueusement une à une à moins que, par mégarde, maladresse ou empressement, elles nous échappent, tombent et qu’il faille tout reprendre dans le désordre. Reu importe, même si le sens de la lecture a été soigneusement pensé, élaboré, mis en place par Christos Lialios, cela ne le dérange pas qu’on le lise de travers. —Anne-Laure Oberson
Exhibition of six editions of the “Taip” project. From 22 February to 14 May 2006. Location: Cluse-Roseraie site, rue Micheli-du-Crest 24, 1205 Geneva.
Series of t-shirts. Five t-shirts, five colors, five drawings.
Available sizes: S-M-L / Edition: 30 copies each
Printed with silkscreen printing in Athens at the studio of the artist Pantelis Pantelopoulos.
Publication series with studies on paper. The title is taken from the phonetic form of the word “type”. Each publication explores a different letter from the Latin alphabet in random way. Primitive Settings is a primitive archive in the form of exercises. A personal world of visible and non visible images, of never completed drawings, of messages that failed to communicate. Primitive margins. The publication has been sealed by a sewing machine.
Size: 200x200mm / Edition: 50 copies
An art magazine and guide to the arts which provides information and an appraisal of artistic events in Greece and abroad, particularly in the region of the eastern Mediterranean.
Director: Gerasimos Zarkadis. Consultans: Katerina Koskina and Thanassis Moutsopoulos.
Editors: Daphne Vitali.
Contributors: Calliope Anagnosti, Yorgos Armaos, Iris Criticou, Mirto Digoni, Marina Douni, Katerina Gregos, Dionyssis Kardaris, Maria-Thalia Karra, Alexandra Moschovi, Korina Pateli, Haris Savopoulos, Maria Tsantsanoglou, Katerina Tselou, Constantinos Vassiliou and Denis Zacharopoulos.
Guest contributors: Ido Harari, Heracles D. Logothetis, Panayiotis Poulos and Nanos Valaoritis.
Graphic design and concept: Christos Lialios.
Size: 210x280mm / Pages: 144
Printed in Greece. Production by Graphoprint Limited Liability Company.
ISSN: 1790-1847
Story with no sound about the Portuguese composer Nuno Canavarro.
Little more is known about Nuno Canavarro, except that he was a former member/keyboardist of an early 80’s band called Street Kids. Later recordings include Mr Wollogallu, a collaboration with Carlos Maria Trindade, and several film soundtracks including Fintar o Destino, O Gotejar da Luz (Light Drops), 14 de Fevereiro (a 1 de Abril), O Jogo da Glória and Janelas Verdes.
Size: 700x1000mm / Inkjet print on fine art paper 300gsm / Looped animation / Courtesy of the artists
Splendid Sound Recordings for Rainy Evenings Next to the River is a sound project which started with the support of the Jan Van Eyck Academie. It has now becomes an independent self-sustained project which is comprised of sound and graphic art that seeks to address the significance of innovation in something modern while maintaining explicit roots in diachronic pop culture. It is one of those moments of aesthetic expression not frequently encountered that emerges from the collaboration of artists from a variety of backgrounds, ethnic origins and personal approaches and styles.
Drog A Tek is a music collectiva communicating through live performance, improvisation using analogue and digital instruments, field recordings, and experimental recordings in real time.
Package design. Vinyl housed in a printed jacket that’s been inserted into a poster folded to 7 inch size.
Poster size: 555x735mm / Package size: 185x185mm / Edition: 302 copies
Printed in The Netherlands by Rosbeek bv. Produced by Splendid Sound Recordings for Rainy Evenings Next to the River (did 04). Supported by the Jan van Eyck Academie, Maastricht.
Publication series with studies on paper. The title is taken from the phonetic form of the word “type”. Each publication explores a different letter from the Latin alphabet in random way. Lonely Settings by Lovely Lines is a study regarding the character space between lonely and lovely. This publication tried to combine the drawing, the draftsman and the photographic process in order to characterize a two dimensions medium.
Size: 200x200mm / Edition: 70 copies
Printed in The Netherlands using Xerox photocopy. Supported by the Jan van Eyck Academie, Maastricht.
Identity made for the fashion room “Muchachas”, Maastricht.
An art magazine and guide to the arts which provides information and an appraisal of artistic events in Greece and abroad, particularly in the region of the eastern Mediterranean.
Director: Gerasimos Zarkadis. Consultans: Denis Zacharopoulos and Thanassis Moutsopoulos.
Associate editors: Dionysis Kardaris, Daphne Vitali, Calliope Anagnosti and Constantine Vasileiou.
Contributors: Vanna Antonopoulou, Panagiotis Douros, Eleni Kamvysi, Sofia Katopi, Iris Criticou, Sonia Koulepi, Olinka Miliaresi, Marina Douni, Melani Prapopoulos, Dawn Stevens, Katerina Tselou and Martha Chalkia.
Guest contributors: Petros Martinidis, Platon Rivellis, Panos Charalambous, Dimitris Polychronopoulos and Leonidas Liambeys.
Associate contributors: Manos Stefanidis, Katia Samaltanou and Fotis Kagelaris.
Graphic design and concept: Christos Lialios
Size: 210x280mm / Pages: 144
Printed in Greece. Production by Graphoprint Limited Liability Company.
ISSN: 1790-1847
Project made for an exhibition during the two years of research at the Jan Van Eyck Academie. Poster to express the coming years after the two years of work in the academy.
Size: 700x1000mm
Printed in The Netherlands by Rosbeek bv. Bound by Mathieu Geertsen. Supported by the Jan van Eyck Academie, Maastricht.
Splendid Sound Recordings for Rainy Evenings Next to the River is a sound project which started with the support of the Jan Van Eyck Academie. It has now becomes an independent self-sustained project which is comprised of sound and graphic art that seeks to address the significance of innovation in something modern while maintaining explicit roots in diachronic pop culture. It is one of those moments of aesthetic expression not frequently encountered that emerges from the collaboration of artists from a variety of backgrounds, ethnic origins and personal approaches and styles.
Vasilis Tsonoglou is a composer who develops music for theatrical performances and works as a sound producer as well. Following the Path was recorded in 2002 at his small studio apartment in Athens.
Package design. Vinyl housed in a printed jacket that’s been inserted into a poster folded to 7 inch size.
Poster size: 555x735mm / Package size: 185x185mm / Edition: 323 copies
Printed in The Netherlands by Rosbeek bv. Produced by Splendid Sound Recordings for Rainy Evenings Next to the River (did 03). Supported by the Jan van Eyck Academie, Maastricht.
Splendid Sound Recordings for Rainy Evenings Next to the River is a sound project which started with the support of the Jan Van Eyck Academie. It has now becomes an independent self-sustained project which is comprised of sound and graphic art that seeks to address the significance of innovation in something modern while maintaining explicit roots in diachronic pop culture. It is one of those moments of aesthetic expression not frequently encountered that emerges from the collaboration of artists from a variety of backgrounds, ethnic origins and personal approaches and styles.
Promotional red t-shirt / Edition: 60 copies
Printed with silkscreen printing by Frans Vos at the Jan van Eyck Academie, Maastricht. Produced by Splendid Sound Recordings for Rainy Evenings Next to the River (did 02). Supported by the Jan van Eyck Academie, Maastricht.
Publication series with studies on paper. The title is taken from the phonetic form of the word “type”. Each publication explores a different letter from the Latin alphabet in random way. “J” for Jack Kerouaq. “J” for Jan van Eyck’s academy. A road journey, also a journey of images, recorded in the first version, made just before it was recycled, of the Jan van Eyck Academy stationery. The packaging is seald. If you change the page sequence interpreting my journey, you get a new sequence, a new series depicting a different journey. From an aesthetic point of view, it is the reader’s journey.
Size: 200x200mm / Edition: 70 copies
Printed in The Netherlands using Xerox photocopy. Cover printed with silkscreen printing by Frans Vos at the Jan van Eyck Academie, Maastricht. Supported by the Jan van Eyck Academie, Maastricht.
The Charles Nypels Foundation, associated with the Jan van Eyck Academie, aims to encourage innovative design developments. Encourages theoretical, practical or historical research in the field of design in general and Dutch design and in particular the work of Charles Nypels. This event introduced the foundation’s new policy and lectures on contemporary research challenges in the expanded design field.
Poster inspired by the idea of introducing the institution’s new policy using the process of ‘rewriting’ the name with the magnetic letter trace.
Lecturers: Gillian Crampton Smith, Paul Elliman, Jouke Kleerebezem, Filiep Tacq, Wouter Vanstiphout and Annelys de Vet.
Size: 610x875mm / Edition: 250 copies
Photo by Florencia Reina. Printed in The Netherlands by Rosbeek bv.
Splendid Sound Recordings for Rainy Evenings Next to the River is a sound project which started with the support of the Jan Van Eyck Academie. It has now becomes an independent self-sustained project which is comprised of sound and graphic art that seeks to address the significance of innovation in something modern while maintaining explicit roots in diachronic pop culture. It is one of those moments of aesthetic expression not frequently encountered that emerges from the collaboration of artists from a variety of backgrounds, ethnic origins and personal approaches and styles.
Septemberist is the artist Andrew Johnson member of Famous Boyfriend, The Remote Viewer and Hood. This is his own sound performance in a very melancholic electronic mood.
Package design. Vinyl housed in a printed jacket that’s been inserted into a poster folded to 7 inch size.
Poster size: 555x735mm / Package size: 185x185mm / Edition: 323 copies
Printed in The Netherlands by by Rosbeek bv. Produced by Splendid Sound Recordings for Rainy Evenings Next to the River (did 01). Supported by the Jan van Eyck Academie, Maastricht.
Publication series with studies on paper. The title is taken from the phonetic form of the word “type”. Each publication explores a different letter from the Latin alphabet in random way. Random Raster Forms Setting R is a “flat” concept using rasterized forms and playing with the distance. A research on graphic design about the relationship between performance and monement. An improvisation on a photocopying machine.
Size: 200x200mm / Edition: 85 copies
Printed in The Netherlands using Xerox photocopy. Supported by the Jan van Eyck Academie, Maastricht.
Selection, documentation, and exhibition of Dieter Roth’s publications at the library of the Jan Van Eyck Academie. Curatorial practice and poster design for an open event to the public with discussions about the work of the artist and and its relation to graphic art.
Poster size: 700x1000mm / Edition: 50 copies
Printed with silkscreen printing by Frans Vos at the Jan van Eyck Academie, Maastricht. Introduced by Karel Martens. Curated by Christos Lialios. Supported by the Jan van Eyck Academie, Maastricht.
Poster designed for Jon Wozencroft’s lecture given at the Jan Van Eyck Academie. This lecture was a part of a series lecture entitled This Afternoon, Life Drawing Classes, project that took place at the Jan van Eyck Academie. In collaboration with Manuel Raeder.
Size: 590x840mm / Edition: 50 copies
Printed in The Netherlands by Frans Vos. Supported by the Jan van Eyck Academie, Maastricht.
Blooming flower pattern.
Edition: 30 copies
Printed with silkscreen printing by Frans Vos at the Jan van Eyck Academie, Maastricht. With the support of the Traders Pop Gallery, Maastricht.
Poster design for the lecture of M/M (Paris) given at the Jan Van Eyck Academie. This lecture was a part of a series lecture entitled This Afternoon, Life Drawing Classes, project that took place at the Jan van Eyck Academie. In collaboration with Manuel Raeder. The lecture was cancelled.
Size: 590x840mm / Edition: 100 copies
Printed in The Netherlands by Rosbeek bv. Supported by the Jan van Eyck Academie, Maastricht.
Wallpaper design for children rooms.
Printed with silkscreen printing by Frans Vos at the Jan van Eyck Academie, Maastricht. Supported by the Jan van Eyck Academie, Maastricht.
Publication series with studies on paper. The title is taken from the phonetic form of the word “type”. Each publication explores a different letter from the Latin alphabet in random way. The second publication of the Taip series is a diary processed through building data. Another publication with mandatory reader-participation. As you can see from the title, this is data. Data is the plural of datum, meaning “something given”. It is the information the reader is supposed to give when answering questions. These questions are simple but, on a personal level, they become difficult answers by using the nice-sounding interrogative prefix “do”. Da Ta Da of Setting D is a kind of phonetic poetry, where voice is replaced by thought, however. It is a game of questions and a collection of answers that are used to bring into the world a moment from the reciever’s psyche.
Size: 200x200mm / Edition: 85 copies
Printed in The Netherlands using Xerox photocopy. Supported by the Jan van Eyck Academie, Maastricht.
Typographic exercise on a poster. Series of two posters:
abcd… and Hey Mr. Postman are there any Letters for me Today?
Size: 580x860mm / Edition: 30 copies each
Printed in The Netherlands by Frans Vos. Supported by the Jan van Eyck Academie, Maastricht.
Poster designed for Nick Bell’s lecture given at the Jan Van Eyck Academie. This lecture was a part of a series lecture entitled This Afternoon, Life Drawing Classes, project that took place at the Jan van Eyck Academie. In collaboration with Manuel Raeder. The lecture was cancelled.
Size: 590x840mm / Edition: 30 copies
Printed in The Netherlands by Frans Vos. Supported by the Jan van Eyck Academie, Maastricht.
Book launch and presentation of the workshop of the book Looping. A Book for Children. October 3rd, Marres House for Contemporary Culture, Maastricht.
Introduction performed by Steven Rushton.
A workshop on Looping. A Book for Children was held at the Montessori Kindcentrum Maastricht over a ten-day period, with a class of thirty children aged five, six and seven. They spent an hour every day coloring the books. No instructions were given.
This is the first workshop in this experimental research project on children’s books. Made possible through the support of Frédérique Bergholtz, curator of Marres House for Contemporary Culture, Maastricht, Mariet Collet, teacher at the Montessori Kindcentrum Maastricht and Christos Lialios.
A coloring book for children with drawings based on loops. Variations of spirals, circles and doodles flow naturally from hand movements. Research, study and design on a children’s coloring book with a loop-based font entitled All the Way Back. The book is accompanied by a poster.
Size: 145x185mm / Pages: 48 / Edition: 270 copies
Printed in The Netherlands by Rosbeek bv. Bound by Mathieu Geertsen. Supported by the Jan van Eyck Academie, Maastricht.
A ‘typewritten’ annual report based on the old typographic systems of the type-writer machines. The content is a very typical annual report except the activities section that images presents the unofficial activities like drawings on the wall next to the telephone or scratching a door in the toilet.
Size: 210x297mm / Pages: 94
Design by Christos Lialios. Printed in The Netherlands by Rosbeek bv. Bound by Mathieu Geertsen.
This annual report has been awarded a prize for Best Designed Annual Reports, organized by the Graphics Culture Foundation, with the Gerrit Jan Thiemefonds and Uitgeverij Compres cooperating and with the support of the Royal KVGO and Océ-Nederland.
A little paper-bunch contains a badge of nine different drawings of flowers.
Printed in The Netherlands by Frans Vos. Supported by the Jan van Eyck Academie, Maastricht.
Poster design for the lecture of Karel Martens given at the Jan Van Eyck Academie based on the typeface We Could Send Letters to Each Other Everyday. This lecture was a part of a series lecture entitled This Afternoon, Life Drawing Classes, project that took place at the Jan van Eyck Academie in collaboration with Manuel Raeder. It was given on 14.2.2002 following the work of Karel Martens and debates on graphic design.
Size: 590x840mm / Edition: 30 copies
Printed in The Netherlands by Frans Vos. Supported by the Jan van Eyck Academie, Maastricht.
Publication series with studies on paper. The title is taken from the phonetic form of the word “type”. Each publication explores a different letter from the Latin alphabet in random way. Ananarchistypofighter Setting A begins with the first letter of the alphabet. A designer’s research on the first letter of the alphabet, which is also the letter symbolizing anarchy. Only in this case the anarchy is more romantic than political. A series of exercises offering solutions to the form of a letter by proposing a new symbol of anarchy. A without the circle. In other words, taking out of anarchy the French word “ordre”.
Size: 200x200mm / Edition: 90 copies
Printed in The Netherlands using Xerox photocopy. Cover printed with silkscreen printing by Frans Vos at the Jan van Eyck Academie, Maastricht. Supported by the Jan van Eyck Academie, Maastricht.
Experimental typeface assembled from different formats of envelopes.
A small silence came between us, as precise as a picture hanging on the wall. —Jean Stafford
Video installation.
Made possible with the support of the Jan van Eyck Academie, Maastricht.
T-shirt inspired by the 11th of September 2001.
First edition: 10 copies / Second edition: 20 copies
Printed with silkscreen printing by Frans Vos at the Jan van Eyck Academie, Maastricht. Supported by the Jan van Eyck Academie, Maastricht.