Write It Personal

One Hundred and Fifty of Seven Thousand One Hundred and Seventy Eight of the Most False and Misleading Claims Made by President Donald Trump in Just Twenty Five Days (from August 17th to September 10th) of 2020. collected, analyzed, and corrected by the Washington Post.

Abgelöst

mittendrin unsichtbar – Wohnungslose Frauen in Berlin

Zwischen künstlicher Kreativität und digitaler Dummheit

24 Stunden

Koryo-saram. 1930–2000

40 p, 1 Schlauchboot

break*in

HUMB CATALOGUE

Dictonary of the Khazars

How letters resist

Glowing Eyes

Die Aufstellung

Ecstatic Solitude

Exotic Plant Hunters

Fragment & Einheit – Visuelle Dialoge subjektiver Wahrnehmungen

Out of The Edge: Physicality of Net Art

Rush Print 0 – bad type

Sorry, I fucked this up

tifo – Visuelle Kommunikation in der Subkultur der Ultras

Paukenschlag

The Perils of Intimacy

Tundra, Yurts and Sowjet Blocks – A Portrait of Ulaanbaatar’s Art Scene

Archiv des Ungewollten

Asia Bistro

When The Atmosphere Is Less Than Perfect

Zwischen künstlicher Kreativität und digitaler Dummheit: Artificial Intelligence und die Kunst

Yabancılar

>da nyet—yes no<

You’re paying too much for design

Zurückgebaut

18×Variations: Is There a Canon of Graphic Design History?

Contre le Bon Sens

de Roond

FUZZINESS: DIFFUSION – ADAPTION

Hyperviolence – Bilder der Gewalt / Der Blick des entfremdeten Menschen im

Gestaltungsberatung Linz Reader

Marginal Notes. Parallel Culture of Smizdat in the Soviet Union

Zugegeben, es ist nicht gerade einfach.

Just Fine

The Word for World is a Grain of Sand

In Kontakt

binding space — Die Suche nach dem räumlichen Dasein des Buches

As if I had fingers at the tip of my words

Glory Holes

Ephemera come architettura

Dig (in) in ‘n’ round – Drawing on Kathy Acker’s

Spielen ist im Labyrinth verboten

Sprung Formal, Issue 17

PUB Journal #4 – Floating in the Abyss

Touching is Speaking Speaking is Touching

Rectangles

A Survival Guide for Ahmadi Muslims of Pakistan

Ulises Carrión, The New Art of Making Books

Dear Reader

Lyutyy

ALT-F.2

Katalog der Zukünfte: Aspekte der Transformation und Produktion von Zukünften im Grafikdesign

Students Projects

Submissions 2024

New Releases

It's a book

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Independent Publishing Fair 
It’s a book, it’s a seed to grow, it’s a world to show
</div>
</div>
</div>
</div>
23.3.2024
12:00–20:00 Fair 
13:00–18:00 Symposium

Hochschule für Grafik und Buchkunst 
Academy of Fine Arts Leipzig
Lichthof, Galerie und Festsaal
Wächterstraße 11 
D-04107 Leipzig 
www.hgb-leipzig.de

Info

It’s a book, it’s a seed to grow, it’s a world to show

EN
At the last It’s a book, … we talked about access to and use of resources. The production and value chains are always subject to change, but they have changed so rapidly for books, publishers, designers, and producers, especially in recent years, that for many it is increasingly questionable whether things can continue as they are. But the world of bookmaking is also changing on the initiative of the protagonists themselves—with responsible action in mind. Writing, designing, publishing, and distributing books is once again becoming a challenge, an effort and an adventure for everyone involved.
As has often been the case, last year’s theme will give rise to a new one. This year at It’s a book, … we are asking not so much how as why: Why do we still have to publish physically? “One publishes to find comrades,” is how André Breton once put it in one sentence.
He was probably not interested in simply publishing contents, let alone convincing readers of something. Rather, it was about creating a Resonanzraum (resonance space). This is his insight for us: publishing is not merely the result of a thinking process, a craft or an artistic work, but as a social practice it sets processes in motion and creates conditions and relationships for collaboration.
The lyrical three-chord phrase It’s a book, it’s a seed to grow, it’s a world to show is an image for the space in which we act and the network that we seek and create, with which we operate. The seed and the associated planting and growing are metaphors for collaborations and for the dissemination of printed matter—and the ideas associated with it. If we follow Breton, we can assume that the structures of the productive processes surrounding publishing are just as important as what is actually published: communicating objects that are simply more than just commodities, but rather self-aware goods. They reproduce images and texts that convey subjectivity and a reference to the world—and that can also speak for themselves. Their content, design, and materiality become valuable in their own right (when seen as a whole) and produce meaning. The book is fleeting and enduring at the same time and can thus be embedded in new spaces again and again and become part of new social structures of relation. Now and in the future.

DE
Bei der letzten It’s a book, … haben wir über die Zugänge zu und den Umgang mit Ressourcen gesprochen. Die Produktions- und Wertschöpfungsketten unterliegen immer einem Wandel, haben sich aber besonders in den letzten Jahren für Bücher, Publizierende, Gestaltende und Produzierende derart rasant verändert, dass für viele ein „weiter so“ zunehmend fraglich wird. Aber auch auf Initiative der Akteur*innen selbst – mit Blick auf ein verantwortungsvoll{er}es Handeln – verändert sich die Welt um das Büchermachen. Schreiben, gestalten, herausgeben und distribuieren von Büchern wird wieder einmal zu einer Herausforderung, zur Anstrengung und zu einem Abenteuer aller Beteiligten.
Wie schon öfter entwächst dem Thema des vergangenen Jahres das neue. In diesem Jahr fragen wir bei der It’s a book, … nun weniger nach dem Wie als vor allem nach dem Warum: Warum müssen wir noch physisch publizieren? „One publishes to find comrades,“ so brachte es einst André Breton in einem Satz zusammen.
Ihm ging es wohl nicht darum, schlicht Inhalte zu veröffentlichen, gar Lesende von etwas zu überzeugen. Vielmehr geht es darum, einen Resonanzraum zu erzeugen. So seine Botschaft an uns: Das Publizieren steht nicht am Ende eines Denkprozesses, einer handwerklichen oder künstlerischen Arbeit, sondern es setzt als soziale Praxis Prozesse in Gang und schafft Bedingungen und Beziehungen für Zusammenarbeit.
Der lyrische Dreiklang It’s a book, it’s a seed to grow, it’s a world to show ist ein Bild für jenen Raum, in dem wir uns bewegen, und jenes Netzwerk, das wir suchen und erzeugen, mit dem wir handeln. Der Samen und das damit verbundene Säen und Wachsen sind Metaphern für Kollaborationen und für die Dissemination von gedruckten Sachen – und von Ideen die damit verbunden sind. Folgen wir Breton, lässt sich annehmen, dass die Strukturen der produktiven Prozesse rund um das Publizieren gleichermaßen bedeutsam sind wie das, was letztlich publiziert wird: kommunizierende Objekte, die schlicht mehr als nur Handelsgüter und vielmehr selbstbewusste Waren sind. Sie reproduzieren Bilder und Texte, die Subjektivität und Weltbezug materialisieren, und können durchaus auch für sich selbst sprechen. Ihre Inhalte, ihre Gestaltung und Materialität werden in der Zusammenschau selbst wertvoll und erzeugen Bedeutung. Das Buch ist flüchtig und standhaft zugleich und kann so immer wieder in neue Räume eingebettet werden und Teil neuer soziale Bezugsgeflechte werden. Jetzt und in Zukunft.

About

Welcome &amp; Introduction
Agnes Wegner {Rector, HGB Leipzig}, Yolande Melsert {Counselor for Culture and Communication, Embassy of the Kingdom of the Netherlands}, the team of It’s a book, …

“To remember a dance by remembering the counts, the space, the feeling. Also, the sweat, the steps and context; to remember the memory of what we remember dancing, the ones that we danced with or imagined while dancing. To remember a dance that we never really danced. Dancing as a fake title, an imagination, fantasy and fiction.”
This performance presents a book. Instead of printed matter, this book was learned by heart by one performer and it is transmitted in one-on-one sessions with the duration of 30 minutes.
A publication written by Clara Amaral in dialogue with Lana Coporda, Loïc Perela, Magdalena Widlak, Ofir Yudilevitch, Serge Amoussou-Guenou, and Yang Zhen
Graphic designer: Dongyoung Lee
Editorial consultant: Becket Mingwen
Learned by heart by Clara Amaral
Produced by Julidans
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&nbsp;
Clara Amaral is an artist working with writing, performance, printed matter and publishing. Her interdisciplinary practice aims to expand existing modes of reading, writing and publishing. Central to her practice is the investigation of publishing modalities and the performative aspect of language.
In January 2021 Clara initiated misted.cc, an online platform: A book of sorts. Every new moon an artist, writer, graphic designer or curator, contributes a text. Throughout the month the contribution vanishes in direct relation to the number of visitors, leaving, eventually, an empty website until the next contribution is published. As of the new moon of February 2022, misted.cc is edited by Clara Amaral and Simon Asencio.
Her works have been recently presented in The Netherlands, Portugal, Spain, Belgium, Sweden, Austria, France, Norway, and Switzerland.

Performance
CLARA AMARAL
Do you remember that time we were together and danced this or that dance?

Imagine what a fashion magazine would look like in 400 years. In a world with no natural resources left, transformation and recycling are the only way forward. Our Rags Magazine is a collaborative project by Aimée Zito Lema and Elisa van Joolen, that investigates transformative processes, proposing new forms of collective production aimed at the reuse of discarded clothing and textiles. The project and resulting magazine question consumer behavior and its relationship to the world in which we live. Our Rags Magazine pushes the possibilities of recycled material even further. By manufacturing a fashion publication that is printed on this very material—creating a magazine of which the pages don’t merely show the garments, but are the garments—this project shows the creative potential recycling garments and textile can offer.
Graphic designer: Elisabeth Klement
Photography: Janneke van der Hagen
Text: Maria Barnas, Press Bekkering
Workshop participants: Amare, Chaja, Daantje, Hasse, Kaya, Kaye, Malou, Mia, Pieke, Rivka, Romy, Rosalie, Samuel, Sofia, Veerle, Yuelin
Publisher: Warehouse
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Elisa van Joolen is an artist, researcher and head of the fashion department at the Gerrit Rietveld Academie in Amsterdam. Her approach to clothing design is characterized by strategies of intervention and reconfiguration. Elisa’s projects often reflect specific social contexts and emphasize collaboration and participation. They expose relational aspects of clothing and subvert processes of value production.
She participated in shows and exhibitions at Z33 House of Contemporary Art Design and Architecture, Stedelijk Museum Amsterdam, Arnhem Fashion Biennial, 5th Brazilian Design Biennial, Museum für Kunst und Gewerbe Hamburg, OCT Contemporary Art Terminal – OCAT Shenzhen, and West Bund Art Center. Van Joolen was artist in residence at Iaspis in Stockholm and at the Jan van Eyck Academy in Maastricht. She is co-founder of Warehouse | a place for clothes in context.

Talk
ELISA VAN JOOLEN
Our Rags Magazine
{Host: Sabine Schmid}

BREAK

Why do promotional pictures of books almost never show readers? Why are books in advertisements pristine, clean and obviously unread? With books no longer being the main carrier of information, they have become more and more luxury objects that end up on shelves and on coffee tables on display. As someone who designs books and writes them, this is worrying. Books should be read. They should have notes in the margins, dog eared pages and underlined sentences. Used books also represent a more sustainable book culture where books are shared rather than owned and accumulated. This ‘heavy reading’ is found in places outside of commercial book culture; public libraries, people’s bookshelves, underground self-initiated libraries. In praise of used books and dog ears is a praise to a more anticapitalist book culture. Rather than gatekeeping the access to knowledge, a more radical book culture is to share, use, circulate and notate our books together.
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Ruben Pater {b. 1977} is a graphic designer at a moment in time, when more design is about the last thing the world needs. In search for ethical alternatives he designs, writes, and teaches. Ruben Pater worked as a designer for different studios in the Netherlands. His work experience led him to pursue a master degree at the Sandberg Institute in Amsterdam, which he completed in 2012. His practice has combined journalism, activism, and graphic design under the name Untold Stories. He is the author of two books on visual communication and design; The Politics of Design {2016} and CAPS LOCK {2021}. He is currently based in Barcelona and teaches at the EINA University School of Design and Art, the Elisava School of Design and Engineering and BAU college of arts and design in Barcelona.

Talk {digital}
RUBEN PATER
Do you read me? In Praise of Used Books and Dog Ears
{Host: Marie Walser}

This talk will focus on the ways in which experimental poets of the post-1945 period reimagined the space of the page. I will discuss how these poets exploited what Nathaniel Mackey has called “graphicity”—“line breaks, multiple margins, orthography, typography and so on”—to expose tensions and antagonisms in social relations. I will also reflect on the links between underground textual production and the political and technological transformations of the period. To what extent are social and economic pressures legible in the material and visual forms of texts? How did nonconformist poets and publishers of the later twentieth century appropriate or resist capitalist literary technologies? And how has the {often collective} labor of editing, typesetting, and printing served—deliberately or incidentally—to build solidarity within and between radical poetic and political movements?
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Phil Baber is a typographer, publisher, and writer. He is the editor, with Snejanka Mihaylova, of The Last Books, a publishing house for experimental poetry and poetics, and with Rietlanden Women’s Office organizes a poetry reading series called Don’t Pay Your Rent. He was awarded the Walter Tiemann Prize for book design, and has been a fellow at Akademie Schloss Solitude in Stuttgart. He teaches writing at the Gerrit Rietveld Academie in Amsterdam and typography at the Royal Academy of Art in The Hague. He’s currently a research fellow at the Royal Academy of Fine Arts in Antwerp.

Talk
PHIL BABER
See What I Mean
{Host: Sarah Halbgewachs}

At It’s a book, …, Elisabeth and Pieter will talk about San Serriffe’s long list of events and gatherings from the last decade. They will run through how San Serriffe functions both as a bookstore and a social space, introducing the latest endeavors and how both their practices embedded in printed matter circle around San Serriffe’s activities.
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Elisabeth Klement is an Estonian designer, educator, curator, and organizer living and working in Amsterdam. Elisabeth received her BA in Graphic Design from the Gerrit Rietveld Academie and her MFA from the Critical Studies program at the Sandberg Institute. Currently at the Gerrit Rietveld Academie, Elisabeth teaches in the Graphic Design department and is an inter-curricular education board member. Together with Pieter Verbeke she founded San Serriffe in 2011. With Laura Pappa, Elisabeth organized the Asterisk Summer School in Tallinn. Elisabeth is a cofounder of How To Show Up? {HTSU?} a writing and Performance platform. Since 2022 Elisabeth is the designer of Metropolis M magazine. As a designer, Elisabeth leads a practice rooted in design justice and collectivity.
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Pieter Verbeke is an arts organizer based in Amsterdam. He is head librarian at the Gerrit Rietveld Academie and Sandberg Institute in Amsterdam. Since 2011, Pieter has been running San Serriffe, an art and design book shop, exhibition space, workshop, and performance venue in Amsterdam. Pieter received his MFA from the Critical Studies program at the Sandberg Institute.

Conversation—San Serriffe
ELISABETH KLEMENT &amp; PIETER VERBEKE
{Host: Rebecca Häfner}

END

Program

adocs Produktion und Verlag, Hamburg 
Argobooks, Berlin 
BELLA triste – Zeitschrift für junge Literatur, Hildesheim 
BOM DIA BOA TARDE BOA NOITE, Berlin 
BONUS.DUO, Milan 
books no demand, Halle {Saale} 
botopress – plattform für architekturen, städte, technologien &amp; fiktionen, Berlin 
bring your own book fair, Amsterdam 
Buchkinder Verlag, Leipzig 
Building Fictions, Amsterdam 
Burg Verlag, Halle {Saale} 
Bur-Rose, The Hague 
ciconia ciconia Verlag, Berlin 
copyshop-, Ghent 
cover crop, Berlin {online only} 
DISTANZ Verlag, Berlin 
DITO Publishing, Rome 
Drittel Books, Berlin 
Edit, Leipzig 
Edition Taube, Munich 
Edition 502, Berlin 
EECLECTIC, Berlin 
einBuch.haus, Berlin 
esquema, Berlin 
Estonian Academy of Arts, Tallinn 
Felder Books Berlin, Berlin 
Flanbe, Buenos Aires {online only} 
FOTOHOF, Salzburg 
Foot Books &amp; Julius Wagner, Oslo 
Fw:Books, Amsterdam 
Garçons Précieux {Precious Boys}, Paris 
Gloria Glitzer, Berlin 
Hackers &amp; Designers, Amsterdam 
Hartmann Books, Stuttgart 
Hfg of books / Hochschule für Gestaltung Offenbach, Offenbach 
Hocus Bogus Publishing, Rotterdam 
Jap Sam Books, Prinsenbeek 
kookbooks, Berlin 
Kunstraum IDEAL in Kooperation mit back bone books/Claudia de la Torre, yours sincerely/Samuel Bich, Robin Wart, Leipzig 
Local Stikerbook, Berlin 
Lubok Verlag, Leipzig 
Lucia Verlag, Weimar 
malenki.net, Albersdorf 
Mark Pezinger Books, Vienna 
MaroVerlag, Augsburg 
M BOOKS, Weimar 
Merve, Leipzig 
Michalis Pichler, Berlin 
MMKoehn, Leipzig 
n.k.g. publications, Amsterdam 
Pantograph, Hamburg 
Parasitenpresse, Cologne 
Possible Books, Berlin 
publish and print, Dresden 
Roma Publications, Amsterdam {online only} 
SAND, Berlin 
San Serriffe, Amsterdam 
Scheidegger &amp; Spiess / Park Books, Zurich 
Selbstverlag, Berlin 
Set Margins’ publications, Eindhoven 
SHIFT BOOKS, Berlin 
Slanted Publishers, Karlsruhe 
Specific Ideas, Cleveland Heights {online only} 
Spector Books, Leipzig 
Stockmans Art Books / HOPPER &amp; FUCHS, Duffel 
Terry Bleu, Amsterdam 
Textem Verlag, Hamburg 
Trottoir Noir, Leipzig 
The Eriskay Connection, Breda 
unofficial.pictures, Leipzig 
Valiz, Amsterdam 
VC-Edition – Visual Communication ZHdK, Zurich 
Verlag Marian Arnd, Taucha 
Verlag Rotscheibe, Würzburg 
Verlagshaus Berlin, Berlin 
Vexer Verlag, Berlin 
Weißensee Kunsthochschule Berlin, Berlin 
Werkplaats Typografie, Arnhem 
windpark books, Frankfurt am Main 
zero sharp, Berlin 
Zita Oberwalder, Graz 
2404editions, Hamburg

Publishers

An event of the open book society e.V. in cooperation with the HGB Leipzig
Kindly supported by the Embassy of the Kingdom of the Netherlands and the HGB Leipzig
Co-financed by the tax funds on the basis of the budget passed by the members of the Saxon State Parliament

A PROJECT BY

Hanako Emden, Lam Funke, Rebecca Häfner, Sarah Halbgewachs, Nathalie Lange, Ossama Morad, Janine Sauter, Leonard Siegwardt, and Marie Walser with support of Prof. Markus Dreßen, Albrecht Gäbel, and Dr. Sabine Schmid

SYMPOSIUM

Hanako Emden, Rebecca Häfner, Sarah Halbgewachs, Leonard Siegwardt, Marie Walser, Sabine Schmid

COORDINATION PUBLISHERS

COORDINATION STUDENT PROJECTS

Albrecht Gäbel, Ossama Morad

SPATIAL DESIGN 

Lam Funke, Janine Sauter, Leonard Siegwardt

WEBSITE 

<div>David Wahrenburg (concept, development, design)</div>
<div>Emil Kowalczyk, Merle Petsch (concept, design)</div>
<div>Janine Sauter, Leonard Siegwardt (fair specific design)</div>
<div>Albrecht Gäbel, Sabine Schmid (usability)</div>
<div> </div>
<div>
<div>
<div>based on a concept from 2021 by UNFUN Studio (Wolfgang Schöffel, Michael Seibert), Anne Dietzsch and students of the HGB Leipzig</div>
</div>
</div>

FUNDRAISING

Markus Dreßen, Sabine Schmid

PUBLIC RELATIONS 

Albrecht Gäbel, Maren Schleimer, Meike Giebeler, Sabine Schmid

VISUAL CONCEPT 

Janine Sauter, Leonard Siegwardt

GRAPHIC WORKSHOPS OF THE HGB LEIPZIG 

Sebastian Cewe, Markus Dreßen, Johannes Oestringer, Anne Telling

PUBLICATION {CONCEPT AND DESIGN} 

Sarah Halbgewachs, Marie Walser

PUBLICATION {CONTENT}

Hanako Emden, Sarah Halbgewachs, Leonard Siegwardt, Marie Walser, Sabine Schmid

LETTERS 

EDITING 

THANK YOU 

Jan Blessing, Sophie Florian, Annette Geiger, Mirya Gerardu, Cara Giaimo &amp; Lilia Kilburn, André Grau, Anna Lena von Helldorff, Gregor Huber, Inga Kerber, Uwe Klaus, Marion Kliesch, Katharina Köhler, Emil Kowalczyk, Kunstraum Ortloff, Ilse Lafer, Susann Landrock, Monika Lange, Yolande Melsert, Maureen Mooren, Helene Otto, Merle Petsch, Nancy Rauh, Katarina Sarap, Stéphanie Scheerens, Sanna Schiffler, Sebastian A. Schmitt, Yvonne Schürer, Matthias Seichter, Michael Sommerfeldt, Andrea Tinnes, Agnes Wegner, Uwe Wellmann and many more

&nbsp;
<img loading="lazy" decoding="async" class="wp-image-9776 alignnone" src="https://backend.itsabook.de/wp-content/uploads/2024/03/Element-1-1.png" alt="" width="203" height="50" srcset="https://backend.itsabook.de/wp-content/uploads/2024/03/Element-1-1.png 279w, https://backend.itsabook.de/wp-content/uploads/2024/03/Element-1-1-150x37.png 150w" sizes="auto, (max-width: 203px) 100vw, 203px" />     <img loading="lazy" decoding="async" class="wp-image-9777 alignnone" src="https://backend.itsabook.de/wp-content/uploads/2024/03/aaf.png" alt="" width="107" height="50" />

Imprint

EN
It’s a book, &#8230;, the annual meeting of independent publishing projects and publishers, takes place for the fourteenth time in 2024. Established as a marketplace for publications of all kinds as well as for ideas and debates, It’s a book, &#8230; sees itself as a space for communicating that is open to all.
All interlocking parts of It’s a book, &#8230;—book fair, student competition, symposium, own printed matter, website as an independent platform—are now being developed, designed and organized for the eleventh time in a row as part of a project seminar by students of the Academy of Fine Arts Leipzig {HGB}.
It’s a book, &#8230; was founded in 2010 on the initiative of Johannes Kirsten, Anne König and Jan Wenzel and has been organized four times in a row by the Leipzig based publisher Spector Books in cooperation with the Centraltheater Leipzig.
In 2014, the publishing house passed on the hosting role to students of the Book design/Graphic design at the HGB under the supervision of Prof. Markus Dreßen. Albrecht Gäbel joined the team in 2015 and Dr. Sabine Schmid in 2016. Since then, the three of them have defined the conceptual and content-related direction, supported the students and supervised the various areas of responsibility.
Since 2017, It’s a book, &#8230; has also been financially supported by the HGB. In 2023, the open book society e.V. took over the patronage.

DE
Die It’s a book, &#8230;, das jährliche Zusammenkommen von unabhängigen Verlagsprojekten und Publizierenden, findet 2024 zum vierzehnten Mal statt. Etabliert als Marktplatz für Publikationen verschiedenster Art wie auch für Ideen und Debatten, begreift sich die It’s a book, &#8230;  als ein kommunikativer Raum, der allen offensteht.
Alle ineinandergreifenden Bereiche der It’s a book, &#8230; – Buchmesse, Studierendenwettbewerb, Symposium, eigene Drucksachen und Website als eigenständige Plattform – werden mittlerweile zum elften Mal in Folge im Rahmen eines Projektseminars von Studierenden der Hochschule für Grafik und Buchkunst {HGB} Leipzig entwickelt, ausgestaltet und organisiert.
Die It’s a book, &#8230; wurde 2010 auf Initiative von Johannes Kirsten, Anne König und Jan Wenzel begründet und vier Mal in Folge vom Leipziger Verlag Spector Books in Kooperation mit dem Centraltheater Leipzig organisiert.
Im Jahr 2014 gab der Verlag die Gastgeberschaft an Studierende des Studiengangs Buchkunst/Grafik-Design der HGB unter Leitung von Prof. Markus Dreßen weiter. 2015 stießen Albrecht Gäbel, 2016 Dr. Sabine Schmid fest zum Team. Zu Dritt definieren sie seitdem die konzeptionelle und inhaltliche Ausrichtung, begleiten die Studierenden und betreuen die einzelnen Aufgabenbereiche.
Seit 2017 wird die It’s a book, &#8230; von der HGB auch finanziell unterstützt. Im Jahr 2023 hat die open book society e.V. die Trägerschaft übernommen.

FORMER CONTRIBUTORS/EHEMALIGE MITWIRKENDE
Hjördis Lyn Behncken, Leander Berger, Julius Betke, Sibel Beyer, Anna Luise Bräuer, Anna Breit, Felix Brenner, Gerrit Brocks, Anna Calabrese, Lynn Cariou, Maria Cebula, Tjaša Cizej, Peter Cornicius, Barbora Demovičová, Anne Dietzsch, Michael Dikta, Marco Dirr, Adrian Djokić, Nino Ducau, Celine Ducrot, Sophia Eisenhut, Anna Emmerling, Elias Erkan, Katrin Ertel, Marika Fleischhauer, Manuel Funk, Barbara Galizia, Santiago Pastor Garcia, Jens Geiger, Carolin Gießner, Jannik Gräfen, Lucia Graf, Tim Grützner, Max Gültig, Laura Hähnel, Basil Haug, Carla Hegerl, David zu Höhne, Lilot Kammermeier, Margarete Keltsch, Ciara Kennedy, Johannes Kirsten, Tobias Klett, Anne König, Anna Kira Koltermann, Sascha Konrad, Lea Kontak, Emil Kowalczyk, Sophia Krayc, Julia Lackner, Sohyeon Lee, Patrick Liebisch, Alexey Malygin, Philip Markert, Paulina Mohr, Bastian Moosburger, Helene Otto, Ris Pascoe, Moritz Paul, Merle Petsch, Silvan Possa, Elia Preuss, Teresa Rudolf, Simon Rüger, Jan Sattler, Andreas Satzinger, Macha Savykine, Eleanor Schilling, Teresa Schönherr, Jenny Schreiter, Inga Seidler, Thomas Spieler, Tim Stollberg, Birger Straehler, Markus Stumpf, Hagen Tanneberger, Tim Teichert, Katharina Tewes, Paula Vogel, Felix Walser, Josephine Walter, Luki Weber, Jonas Wehner, Eyck-Marcus Wendt, Jan Wenzel, Paul Zech, Cristina Zickert and many more/und viele mehr

Theirstory

Have a look at former instances of the It&#8217;s a book Website.
<a href="http://2014.itsabook.de">It&#8217;s a book 2014</a> 
<a href="http://2015.itsabook.de">It&#8217;s a book 2015</a> 
<a href="http://2016.itsabook.de">It&#8217;s a book 2016</a> 
<a href="http://2017.itsabook.de">It&#8217;s a book 2017</a> 
<a href="http://2018.itsabook.de">It&#8217;s a book 2018</a> 
<a href="http://2019.itsabook.de">It&#8217;s a book 2019</a>
Introduction of the Marketplace 
<a href="http://2021.itsabook.de">It&#8217;s a book 2021 </a> 
<a href="http://2022.itsabook.de">It&#8217;s a book 2022</a> 
<a href="http://2023.itsabook.de">It&#8217;s a book 2023</a>

An event of the open book society e.V. in cooperation with the HGB Leipzig. Kindly supported by the Embassy of the Kingdom of the Netherlands and the HGB Leipzig. Co-financed by tax funds on the basis of the budget passed by the members of the Saxon State Parliament.

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