Einai Aypio / C’est Demain, no. 7/8: Mixed Issue — “Graffiti / Masters and Slaves”
Open Head Arts, Athens, 1984. (Ed. by Vlasis Rassias)
Einai Aypio / C’est Demain was an international Mail Art publication associated with Vlasis Rassias and Open Head Arts in Athens. Géza Perneczky describes it as originating from the Aerosto publication in Athens and developing into an international, unbound A5 Mail Art assembling issued in an edition of 100 copies. He documents the series from 1982 to 1986, nos. 1–11, and notes that several numbers were thematic.
The Artpool copy documented here is no. 7/8, dated 1984, and explicitly identified as a “Mixed Issue.” Its cover combines the themes “graffiti” and “Masters and slaves” and uses the French wording c’est demain la veille. The participant page identifies the present copy as 25/100, independently confirming the edition size recorded by Perneczky.
The formal participant roster contains 32 entries representing West Germany, Hungary, France, the United States, Canada, Spain, Switzerland, Greece, Japan, Italy, the Netherlands, Belgium and Denmark. A separate section lists additional “singles” received, but these correspondents are not presented as participants in the issue itself.
The issue also advertises planned future numbers: no. 9, “Nuclear Clarts, Neutron Cowboys”, deadline 31 May 1985; no. 10, “Homage to James,” dedicated to Jim Morrison, deadline 31 May 1985; no. 11, “Comix Heroes”, deadline 31 August 1985; and no. 12, “Dirty Dreams – Private Fantasies,” deadline 30 November 1985. This primary-source announcement demonstrates that no. 12 was planned, but it does not prove that the issue was eventually published. Perneczky’s retrospective documentation records the realized series only through no. 11.
The University of Iowa’s Alternative Traditions in the Contemporary Arts collection independently lists Einai Aypio/C’est Demain as a Greek periodical and records holdings of nos. 9 and 10, corroborating both the title and the continuation of the series beyond no. 7/8.
A related but distinct Open Head Arts project, 1984. The Big Brother’s Year, is already documented in Artpool’s 1984 Chro-No-Logy and should not be conflated with this issue of Einai Aypio / C’est Demain.
