Nea Publishing is an editorial laboratory where experiences, communicative attitudes, and cultural needs come together as one. With a voice that deciphers the ineffable contemporary, Nea offers an attentive look — a gash in the liquid surface of the present. The temporal intersection between form and language, its main objective is to question conventions as we know them, examining how they have been transmitted to us in order to revolutionize them, producing instead new and conscious cultural relations — ones which are pluralist, discontinuous, and horizontal.

What guides Nea’s trajectory is the exploration of the liminal territory that emerges from the encounter of visual and narrative language — that which exists between the image and the written word. From this profound relationship, navigated on several levels — from archival research to photographic rewriting projects to trans-writings — Nea aims to identify a new lexicography of our time, an innovative cultural map within which to orient oneself by degrees of ever-greater understanding. Nea thus seeks to define an artistic consciousness capable of affecting the fabric of reality.

Of course, here, monolithic answers are not necessary. We do not want to propose a new recipe for self-referentiality, i.e. a closed system of values or operational tools. Instead, we hope to stimulate a debate, build a community of readers within a network of third parties, and throw ourselves headlong into the unexpected imaginary, in which, from time to time, we will try to identify our coordinates.

Nea’s production involves several devices. Chief among them is printed paper. As we see it, paper is a tool, rather than a container; it is a possibility for a type of display that is organic to what the editions themselves want to say. The card, therefore, is a means in and of itself. It is the terrain on which research moves, the portal from which ideas enter and leave, and the place where they are then collected, possessed, modified, and relaunched. Like a wing that tears apart a stage, paper hides a further level of editorial processing, and none of it is wasted.

Typography is halfway between the means and the end, between what conveys meaning and the meaning itself. But among the tools we use, there is also the network — the ubiquitous and capillary ether — along with the social tools that build it. These places and non-places act as transmission, distributing projects to ultimately build a digital archive of productions and collaborations with artists from all over the world.

In 2018, we first sought our space and our new cultural identity. In 2020, we updated and thereby discovered the use of paper forms. And today, we find ourselves at the beginning of a new collective journey. We ask you now to join us on this journey, as artistic and cultural collaborators, as readers, and as anyone willing to imagine.