I discovered a characteristic of my homeland – the carp pond. I began exploring ponds near my home town; many of them have become wild. I was captivated by the water, fascinated by the colours of the pond. I went for serval years to the same pond of my childhood and photographed through all seasons the underwater light and underwater colours. When in 2022 my parents burned my childhood buildings with a excavator I photographed the former suicide room of my uncle and extreme light came through the window. I realised the light of the underwater photographs is combinded to my childood memories and emotions thats why I went always into the water when I am coming back to my childhood’s ponds.

“Dirt is clean when there is a volume” (gertrude Stein): a clear yet metaphorical statement. As Franzi Bauers DIN A4 publication printed on three different laserprinters in a presumably B/W print on the (non-)existance of the straight line. The collection of manifesto variations, quotes and images questions societal assumptions on norm, borders and knowledge production.
The publication writes on and about the assumption of the existance of straight lines, varries these assumptions, comments them and has them commented. The print publication exists in addition as a performance as well as a print-it-yourself version and blures the relations between digital and haptical gestures.

The book is built for the animated film “Animal Behaviour” by artists Yiying Gao and Shikai Tao. It consists of more than 22 separable magenetic transparent pages and the cover with magnetic spine, in addition the box accompanies as a book packaging and at the same time as a viewing device with a door peephole.

The metamorphosis workshop creates special reading conditions through the conception of singular works. It is in this sense that these ten variations of Gustave Flaubert’s novel Madame Bovary, one of the greatest classics of French literature, were conceived. These editions also represent Andréa’s will to show the formal plurality that the act of publishing enables and moreover underline the importance of the relation between content, support and form. Thus implying that we could reiterate this process with another novel, to generate new heterogeneous forms, with different axes of reading. The books would become a tool for analyzing the book.

Loaded Guns explores the ways in which some independent social magazines do political activism in the current climate of increasing xenophobia and weakening democracies.
The format was chosen to host large images and to give breath to the texts. The font used for the title and other text elements, with the fine lines of its glyphs, symbolises the many magazines and approaches that pursue the common goal of doing activism. The Swiss binding allows a complete opening of the volume, to facilitate interaction with it and to better access the contents. The images are laid out on black pages, the texts on white pages, generating an alternation that is already visible when the book is closed.

Meantime is an independent magazine about the history of Singapore told through personal stories. Each issue presents a unique shape that defies the traditional book format. The third issue comes with a bite taken out of it, while the fourth issue has a slice taken off the bottom so the publication appears to be sinking when put upright.

A collective project that reflects on the consequences of Covid-19 pandemic on the cultural sector from the perspective of cultural workers: artists, curators, art critics and others. The publication is a result of artistic research initially conveyed in 2020 online by artist Ana Kuzmanić via www.artwithoutplace.com. The publication design and binding reflect the continuous never-ending scroll effect of the webpage. Pages are bound solely with glue, to emphasize temporality.

The zine “Recreation” is an exhibition catalogue where each page is a postcard that can be torn off along the perforation. Driven by both budget limitations and immense enthusiasm, we took it upon ourselves to print the zine using a risograph, leading to a series of unexpected choices. For example, the printed pages smudged the backs of other pages, so we had to cover the spots with a golden marble texture around the artwork captions. This added coherence to the zine’s color scheme and paid homage to Soviet architecture.

An editorial and design concept dedicated to raising awareness of the past, present, and future species. The explored visual language reflects typography and image pixelation. I see each pixel as a block from something bigger; the more pixels there are, the clearer the situation becomes. The format portrays connectivity; it represents the stages a species can find itself mainly because of the human impact on the environment. The book sizes are gradually decreasing, forming an ‘arrow’. That is meant to point out that we cannot change the past, but we can look up to it, and learn from the mistakes that were made so we can offer a better present and future for the remaining species.

The book is an accompanying artefact of the MADE IN exhibition, which celebrates the relationship between crafts and contemporary design. In terms of content, it assumes the role of an archive, while in terms of form, it is the result of a close collaboration between designers and the printer. This attention to detail is evident in various aspects, such as the soft binding of a large volume, the use of black thread, the functional ribbon, and the screen printing on the text block. The data hierarchy is resolved through careful typographic decisions. The cover, with the repeated iterations of the MADE IN phrase, alludes to the various aspects of anonymous production.

My design for the 164-pages book of artist Gülbin Ünlü, published at Hammann von Mier, was developed like sound: playing with beats, dynamics, harmonic flow, rhythmic changes, coexistence meets interruption. Ünlü’s work pushes boundaries, she combines painting, print, photography, video, social media, performance, installation, collaborative actions and music. Sampling, mash-ups and references form echoes as hidden memories and found their way into the book’s structure, layout and typography. The fonts in use – primarily Louche, Agne, Fixture, Alliance – come together as if you place [in]compatible moods alongside: resistant, rotating, lyrical, bohemian, sometimes cramped, even prosaic.

Van de Onderaannemingsovereenkomst, Of Beginselen van Poëtische Recht (2016) is a complete Dutch-langauge edition of my poetry collection about computational capitalism, Of the Subcontract, Or Principles of Poetic Right (2013), the 100 poems in which were written by underpaid workers hired on Amazon’s labour-pooling platform Mechanical Turk.

Van de Onderaannemingsovereenkomst was translated using Google, left uncorrected, then poured back into the design files for the first print edition.

The front cover is a simple photograph of the first print edition, which partially captures a selfie via the mirror card used.

Spanish (2019) and German (2020) translations have since been published.

This publication is a collection of works that were produced in the course “Hybrid Publishing” at the University of Applied Sciences in Mainz, Germany. Besides the different works, it also contains essays, research results and a glossary. The contents of the publication are stored in a mediawiki that is linked to the frontend website. From there the material can be viewed and printed, either selectively or in its entirety as a publication. This hybrid approach enables a collaborative working process and facilitates later additions.

TYPE_BREAK is a collection of typographic experiments, for which an art book was the best solution.
In my works, I research borderline situations between image and letter. In this case I limited my toolbox to the letter “A”. I placed this basic typographic form in a constructive, geometric grid structure, as a visual fragmentational method. Through the step-by-step application of this method, segments are created. The steps of this typographic process are like animations, they can be presented very well using the book’s pages, showing one after the other as we turn the pages in the book.
This artist’s book is a book published by the artist, produced with offset printing.

The book by the architect and art critic Sergei Chubraev is a memoir of the appearance of the Leningrad Rock scene. It covers the period from 1986 to 1992. The book shows both famous and unknown figures of underground culture and how it affected late Soviet creative youth lives. The text is richly illustrated with the author’s own photographic archive, the first iteration of the layout had plenty of pictures, but he kept taking those out one-by-one, and it is visible in the final layout.

Artists’ book A punch In The Eye is a collection of previously unpublished letters from the 70s that Sanja Iveković was sending to her friends in France. In the book all the letters have been translated into English, which creates additional textual layer, yet follows the composition of the text from the original collage letters that used the popular Yugoslavian press.

“These letters, which are not exactly letters, but rather objects of art, will evidently cause trouble to the postal service of every country they pass through…as examples of artistic labor, these fragments of correspondence will instantly embody the impropriety that art represents; as art is permanent rebellion…” BoraĆosić

“Nordwand” – A 30s epic Adventure” is an experimental pop up book created by Libri Finti Clandestini to pay homage to all the people, known and unknown, who during the third decade of the 20th century tried, with or without success, to conquer the North face of the Eiger (Switzerland, 3967 m.).

The book is handmade in a single copy with brown paper 120 g/m2, and was created on the basis of a “Concertina Cilena”.

The content-form relationship of the book is fundamental: the paper (a single piece folded dozens and dozens of times and therefore trimmed on the sides) becomes a mountain in which tiny climbers, turning the pages, reach the highest point of the structure, conquering its summit.

“365 routines” is a yearlong choreography composed of a daily exchange of dance videos alternately shared between visual artist Nina Kurtela and choreographer Hana Erdman. The work culminates in a 48-minute video whereby the 365 videos are edited together to form one long dance phrase. It is a communication between different environments, locations, languages, identities, spaces, and times. During the daily routines the artists engage in an imaginary space of belonging that is no longer physical or territorial. Dancing becomes home for the two. The artistic concept transferred into the form of a book acquires a new dimension. A compact object of 365 sheets works outside the choreography.

This book is the result of research on the city of Rijeka, carried out by DeltaLab at the UNIRI & it is devoted to the Croatian Pavilion at the La Biennale di Venezia 2021. In 2* books (2* languages) of 800 pages each; typologically different chapters are interwoven. The book is structured according to the floor plan of the exhibition of the same name. The layout offers multiple reading possibilities. It is designed as if someone has combined several types of publications: an exhibition catalog, a book on the theory and history of architecture, a photographic research/archive, an essay reader for students & an experimental fanzine, one part of which is AI generated (text).

Self published Art Book.
Null_Style is the form of the eternal cycle, closed in the form of the book. Null_Style is a 360-degree book, endless variations for 365 days. This book is based on the One Style a Day / Dora Balla project, which was realised between 2016 and 2017.
Editon of 100 silver | 100 dark silver | 100 metal black (numbered and signed)
Null is the starting point and the end point
Null is the void and Null is the whole
Null is the impossible and the possible
Null Style | endless variations and potential for every day

Dóra Balla’s Budapest Cretio is an artist book exceptional both in its content and form about catching time, about the city full of life even in its lifelessness and the personal memories of the author.
Printed with silver ink on black paper, open spine and hot foil on canvas.

My book is a visual exploration about the mental state and the battle of adult women with ADHD, the functional impairment and longterm outcomes. Each page is uniquely designed in a way that represents my interpretation of how the brain responds to different situations. This book is an attempt to let anyone be able to empathize with our ADHD brains.There is an additional booklet about 4 different stories of women and an illustrated poster of my creative process as an ADHDer.I want to remove the negative connotation or social stigma associated with ADHD, freeing us from public condemnation and make us socially acceptable.

A book on the history of Graphic Design illustrated with experimental type based works of students of the Visual Grammar MOME course. Two-colour printed book (silver and black), bound with two types of covers and with open spine.

“::vtol::” is the artistic alias of Dmitry Morozov, a contemporary media artist. His practice revolves around the irrational utilization of machines, delving into the potential of evoking emotions through technology. Morozov’s artworks intentionally expose their hardware components, allowing viewers to observe the intricate details of their construction. In line with this aesthetic, we have chosen to accentuate the catalogue design by making the spine visible and emphasizing the two-column layout with prominent lines.