STAN DE NATRIS | Graphic Design & Publishing
Established his practice mid-2014 as a freelance Graphic Design Studio after graduating (cum honore) in Graphic Design (B Des) at the Artez Institute of the Arts in Arnhem (NL). Previously in 2010 receiving a degree in Media Design (B ICT) at the Fontys University of Applied Sciences in Eindhoven (NL). He currently works at artist collective Slavs and Tatars and runs publishing initiative Architecture for the Poor

Long Lvive Lviv. Слава за Бреслава.
At: Slavs and Tatars
Media: Print, Textile
Technique: Silkscreen, Embroidery
Year: 2021
Size: Various
Client: OP ENHEIM, Wrocław


Księgożerstwo (Bibliophagy)
At: Slavs and Tatars
Media: Print
Technique: Stamp
Year: 2021
Size: 11.0 cm × 15.0 cm
Client: Museum of Modern Art, Warsaw
Sculpture: Olga Micińska


The Contest of the Fruits (lyrics)
At: Slavs and Tatars
Media: Print
Technique: Risograph
Year: 2021
Pages: 8
Size: 26.0 cm × 19.0 cm
Paper: Meta Rough 100 g/m²
Cover: Meta Rough 175 g/m²
Client: Haverford College, Haverford, USA
Illustrations: LOGAN


The Contest of the Fruits
At: Slavs and Tatars
Media: Print
Year: 2021
Pages: 160
Size: 26.0 cm × 19.0 cm
Paper: Magno Volume 115 g/m²
Cover: Incada Silk GC1 280 g/m²
Publisher: MIT Press, Cambridge, USA
Client: Haverford College, Haverford, USA
Illustrations: LOGAN


The Alphabet (Uyghur kril yéziqi)
At: Slavs and Tatars
Media: Vacuum-formed plastic
Year: 2021
Edition: 3 + 1AP
Size: 64.0 cm × 91.0 cm


Who are you?
At: Slavs and Tatars
Media: Vacuum-formed plastic
Year: 2021
Edition: 3 + 1AP
Size: 64.0 cm × 91.0 cm


Sinophrys Salon
At: Slavs and Tatars
Media: Print, Silkscreen
Year: 2021
Edition: 50 + 20AP
Size: 65.0 cm × 47.5 cm
Paper: Splendorlux Mirror Argento 320 g/m²


Hi, Brow!
At: Slavs and Tatars
Media: Print
Year: 2021
Pages: 8
Size: 29.7 cm × 21 cm
Paper: Arctic Volume White 130 g/m²
Publisher: Pinakothek der Moderne, Munich


Why I Am Leaving
At: Architecture for the Poor
Media: Painting
Technique: Acrylic
Year: 2020
Size: 76.0 cm × 76.0 cm (unframed)
Goldman Sachs CEO Lloyd Blankfein declared in 2009, “I’m doing God’s work”, a mere synonym for the destructiveness of his predatory finance mob. For one of his employees this leitmotif became slightly problematic after “just” twelve years at the “Great is Good” gang. Greg Smith left the company with a cardboard box full of resentment regarding the “Too big to Fail” crime syndicate. Here, Goldman Sachs’s logo refers to a tilted Enron-esque shape, tipping over, while for Malevich the Black Square was of spiritual significance, its positioning high in the corner is a sacred spot, a place where the hawk-like CEO’s often nest. Up there in their board rooms behind glass tiled facades, they’re shielded from reality and social responsibility.
Régions d’Être
At: Slavs and Tatars
Media: Print
Year: 2020
Size: Various
Publisher: Villa Arson, Nice
Icw: Aurélie Defez


Salty Sermon
At: Slavs and Tatars
Media: Woolen yarn
Year: 2020
Edition: Unique
Size: ∼290 cm × ∼290 cm
Location: Villa Arson, Nice
Photographer: François Fernandez


Bhesky’s Uninvited Oeuvre
At: Architecture for the Poor
Media: Print
Year: 2020
Size: 68.0 cm × 47.0 cm
Paper: Meta Gloss 100 g/m²
The fictional character CJ Bhesky is the CEO of a global disruptive company, operating via an online platform hosting rental apartments, houses, rooms and spaces. His incentive is profit driven, snatching in his run downhill everything he can get. The consequences of his actions are slowly becoming visible in the street. Whole areas previously known for their vibrant multicultural city life have become homogeneous tourist traps, with singular economic activity.
Who are you
At: Slavs and Tatars
Media: Vinyl sticker
Year: 2020
Size: 162 cm × 405 cm
Location: fanfare, Amsterdam
Photographer: Guus Kaan


Collonade (Pillar №1+2+3)
At: Architecture for the Poor
Media: Print
Year: 2020
Size: 68.0 cm × 47.0 cm
Paper: Metapaper Extrasmooth White 120 g/m²
People who do not know the steam and sweat of a real factory can find industrial space romantic or interesting. But in many ways industrial spaces are more interesting than “post-industrial” offices, apartment houses, and shopping centres. Their façades are often adorned with archaic emblems and sculptures. Yet this ornamentation is a conceit of nineteenth-century technology. The façades of many loft buildings that were constructed between 1820 and 1880 were cast in standardised iron parts that could be ordered from a catalogue, mounted, and taken apart at will. Cast Iron(ically), the mass production of an earlier industrial era looks to our eyes like individuality.
Tune in 4 Zukin
At: Architecture for the Poor
Media: Painting
Technique: Acrylic
Year: 2020
Size: 31.5 cm × 39.5 cm (framed)
A dedication to the author of the book Loft Living, Sharon Zukin. The analysis points at the emergence of artists as a force of gentrification and the related rise of ‘creative city’ policies around the world. As easy as 123, artists’ districts – trailing SoHo – have become a global tourist attraction.
Pickle Bar | Your Slavic Aperitivo
At: Slavs and Tatars
Media: Print
Year: 2019
Size: 21.5 cm × 18.0 cm
Publisher: Magic of Persia, London


Botschaft eines Liebhabers
At: Slavs and Tatars
Media: Tiles
Year: 2019
Edition: Unique
Size: ∼215 cm × ∼261 cm & ∼218 cm × ∼382 cm
Client: Ruth Ur & Deutsche Bahn, Berlin
Location: S-Bahnhof Friedrichstrasse, Berlin


Who’s afraid of Red, Red, and Green
At: Architecture for the Poor
Media: Painting
Technique: Acrylic
Year: 2019
Size: 61.0 cm × 43.0 cm (framed)
After the famous Barnett Newman painting was vandalised, it turned out the restoration costs raised exponentially. Replacing the orginal Red, with thick layers of varnish, it became a so called ‘headache file’ for the city of Amsterdam. This story is quite an exemplary example, and used here as metaphor for the political situation in Berlin vs. the boiling housing market, and the reaction of the RRG coalition.
Eskalierte Escalier
At: Architecture for the Poor
Media: Painting
Technique: Acrylic
Year: 2019
Size: 61.0 cm × 43.0 cm (framed)
The devil is in the detail. Is your stairwell treated with linoleum or coconut matt flooring, the difference in coating will indicate your landlord’s future upgrade plans.
Paskutinis Vasaros Sekmandienis
At: Studio Stan de Natris
Media: Print
Year: 2019
Size: 42.0 cm × 29.7 cm
Paper: Meta Matt 250 g/m²
Client: Monika Lipšic, Vilnius

Crack Up – Crack Down
At: Slavs and Tatars
Media: Print
Year: 2019
Pages: 122
Size: 28.4 cm × 23.0 cm
Paper: Arcoset Extra White 120 g/m²
Cover: Symbol Card 240 g/m²
Publisher: Mousse Publishing, Milan
Client: MGLC International Centre of Graphic Arts, Ljubljana
Illustrations: Nejc Prah


The Good Neighbour
At: Studio Stan de Natris
Media: Website
Year: 2019
Size: Responsive
URL: www.thegoodneighbour.lt
Client: Monika Lipšic, Vilnius
Programming: Mindaugas Ūba


If you Lived here…
At: Architecture for the Poor
Media: Painting
Technique: Oil Paint & Acrylic
Year: 2019
Size: 52.0 cm × 72.0 cm (framed)


…you would be Home now
At: Architecture for the Poor
Media: Painting
Technique: Oil Paint & Acrylic
Year: 2019
Size: 72.0 cm × 52.0 cm (framed)
A colourful tribute to the leitmotif of NYC based artist and activist Martha Rosler. Suggesting an alternative route for the fully completed gentrification phase of the South of Houston neighbourhoud in the Big Apple.
S&T Greeting Cards
At: Slavs and Tatars
Media: Print
Year: 2019
Size: 14.0 cm × 9.8 cm


Pickle Politics
At: Slavs and Tatars
Media: Print
Year: 2019
Size: 68.0 cm × 48.0 cm
Publisher: SUGAR, Toronto


Brine & Punishment
At: Slavs and Tatars
Media: Print
Year: 2019
Size: 6.0 cm × 14.0 cm
Photographer: Luca Giardini


To Turn
At: Slavs and Tatars
Media: PVC, digital print
Year: 2019
Edition: Unique
Size: ∼330 cm × ∼550 cm
Location: 58th La Biennale di Venezia, Venice
Photographer: Luca Giardini


The Vanilla Tourist
At: Architecture for the Poor
Media: Print
Year: 2018
Pages: 8
Size: 29.7 cm × 21.0 cm
Paper: Meta Matt 250 g/m²
The bouncing suitcase is used here as a metaphor for tourist gentrification and is musically expressed in the song Strollin’ ‘n Rollin’ by CJ Bhesky, a rewriting of Limp Bizkit’s original.

Alright ‘tourie’, keep on rollin’ B’nBer, you know what time it is. A burstin’ suitcase, keep on rollin’ B’nBer, move on.
Steppe Momma’s Milk (edition)
At: Slavs and Tatars
Media: Mirror, Spray paint
Year: 2018
Edition: 3 + 1AP
Size: 70 cm × 50 cm
Photographer: Raimund Zakowski
Client: Kunstverein Hannover

Steppe Momma’s Milk (installations)
At: Slavs and Tatars
Media: Offset & digital print, sticker, textile
Year: 2018
Size: Various
Location: Kunstverein Hannover
Photographer: Raimund Zakowski
Icw: Ivan Aleksandrov

Year: 2021
Size: 300 cm × 500 cm
Location: Twelve Gates Arts, Philadelphia
Photographer: Constance Mensh

Noblesse Oblige (sunflower)
At: Slavs and Tatars
Media: Woolen yarn
Year: 2018
Edition: Unique
Size: ∼250 cm × ∼150 cm


Noblesse Oblige (peanut)
At: Slavs and Tatars
Media: Woolen yarn
Year: 2018
Edition: Unique
Size: ∼250 cm × ∼150 cm

Qatalogue
At: Slavs and Tatars
Media: Woolen yarn
Year: 2018
Edition: Unique
Size: ∼180 cm × ∼200 cm


Les Classes Dangereuses
At: Architecture for the Poor
Media: Print
Year: 2018
Size: 42.0 cm × 59.4 cm
Paper: Meta Gloss 135 g/m²
Just before the Haussmann renovation of Paris, Honoré Antoine Frégier coined the term ‘the dangerous class’, refering to the ‘boujee’ idea of pinpointing the urban poor as threatening criminals.
Down Low Gitter
At: Slavs and Tatars
Media: 3D drawing
Year: 2018
Edition: Unique
Size: 52 × 228 × 140 cm
Photographer: Raimund Zakowski
Producer: Bernd Euler, Nils Tresselt


Dresdener Gitter
At: Slavs and Tatars
Media: 3D Drawing
Year: 2018
Edition: Unique
Size: 129 × 211 × 128 cm
Photographer: Klemens Renner
Producer: Bernd Euler, Nils Tresselt

An Niemand / An Zweien
At: Slavs and Tatars
Media: Print
Year: 2018
Size: 72.0 cm × 48.0 cm
Location: Kunsthalle im Lipsiusbau, Dresden
Photographer: Klemens Renner


Wripped Scripped
At: Slavs and Tatars
Media: Print
Year: 2018
Pages: 152
Size: 28.5 cm × 20.5 cm
Paper: Arctic Volume Ivory 115 g/m²
Cover: Korsnäs Artisan 320 g/m²
Publisher: Hatje Cantz, Berlin
Icw: Ollie George


Delos
At: Architecture for the Poor
Media: Print
Year: 2018
Pages: 12
Size: 21.0 cm × 14.8 cm
Paper: Meta Gloss 170 g/m²
The ‘free zone’ has changed the lives of a small elite, however for the majority of ‘zone workers’ it has been pushing them in the wrong direction. This publication speculates a semi-fictional storyline about a powerful real estate corporation named Delos. Providing opportunities in the ‘free zone’ for a migrant labour force. What at first looked like a golden opportunity to change their lives; soon spiraled down into a dusty nightmare.
Stilbruch
At: Slavs and Tatars
Media: 3D drawing
Year: 2018
Edition: Unique
Size: 95 × 126 × 60 cm
Photographer: Tiberio Servillo
Producer: Bernd Euler, Pelle Hinrichsen

Kirchgängerbanger
At: Slavs and Tatars
Media: Print
Year: 2018
Pages: 92
Size: 20.0 cm × 14.0 cm
Paper: Munken Print Cream 18 90 g/m²
Cover: Crescendo C1S 300 g/m²
Client: Westfälischer Kunstverein, Münster
Publisher: Motto Distribution, Berlin
Icw: Manus Nijhoff


Ha’mann in the Hood
At: Slavs and Tatars
Media: Woolen yarn
Year: 2018
Edition: Unique
Size: ∼425 cm × ∼300 cm
Location: ar/ge kunst, Bolzano
Photographer: Tiberio Servillo



To no One
At: Slavs and Tatars
Media: Print
Technique: Risograph
Year: 2018
Size: 59.0 cm × 41.6 cm
Location: Westfälischer Kunstverein, Münster
Photographer: Thorsten Arendt


Hammer & Nipple
At: Slavs and Tatars
Media: Print
Year: 2018
Size: 68.0 cm × 48.0 cm
Location: Westfälischer Kunstverein, Münster
Photographer: Thorsten Arendt
Icw: Darío Dezfuli

Weeping Window (E-Z Chasm)
At: Slavs and Tatars
Media: Glass painting
Year: 2017
Edition: Unique
Size: 53.0 cm × 93.0 cm
Icw: Sandra Valdés García


Weeping Window (Mmmmorgenländer)
At: Slavs and Tatars
Media: Glass painting
Year: 2017
Edition: Unique
Size: 53.0 cm × 93.0 cm
Photographer: Hannes Wiedemann
Icw: Sandra Valdés García

Upperwood
At: Architecture for the Poor
Media: Print
Year: 2017
Size: 59.4 cm × 42.0 cm
Paper: Metapaper Extrasmooth White 150 g/m²
Nichts ist umsonst. Nothing comes for free. That’s the new mantra of this settled down coworking space. But now that the ‘touristification’ in the city center has taken a grip on the cash register is the CEO driving his beloved project into a cul de sac? According to him action has to be taken, ‘whoever wants to be here must consume’. Coworking = Consuming!
Khhhhhhh (Turkish)
At: Slavs and Tatars
Media: Print
Year: 2017
Pages: 8
Size: 29.7 cm × 21.0 cm
Paper: Arctic Volume Highwhite 130 g/m²
Publisher: SALT, Istanbul


Khhhhhhh (German)
At: Slavs and Tatars
Media: Print
Year: 2015
Pages: 8
Size: 29.7 cm × 21.0 cm
Paper: Hello Silk 130 g/m²
Publisher: Kunstverein Braunschweig

NonPlace AirSpace
At: Architecture for the Poor
Media: Print
Year: 2017
Size: 59.4 cm × 42.0 cm
Paper: Matt coated 170 g/m²
Marc Augé coined the term ‘supermodernity’, describing the phenomenon of people moving through ‘non places’ linked by technology. It’s possible to travel the world and never leave AirSpace, sipping cortados in industrial lighted, reclaimed wood decorated, WiFi bars. Placelessness, becomes the warm embrace of AirSpace, using technology to break down geography.
Molla Nasreddin №2 (dust jacket)
At: Slavs and Tatars
Media: Print
Year: 2017
Size: 28.7 cm × 71.6 cm
Publisher: I.B. Tauris, London


Sharism
At: Architecture for the Poor
Media: Print
Year: 2017
Size: 59.4 cm × 42.0 cm
Paper: Metapaper Extrarough White 150 g/m²
Disrupting otherwise quiet neighbourhoods; Airbnb is parachuting groups of international tourists into residential communities; Instagram users are spreading lifestyle memes; or Foursquare sending travellers to the same espresso corner over and over again.
Hamdami
At: Slavs and Tatars
Media: Video
Year: 2016
Size: 1920 × 1080 px
Duration: 5:30 min
Location: SUGAR, Toronto
Photographer: Yuula Benivolski


Staggering Souvenir
At: Studio Stan de Natris
Media: Print
Technique: Risograph
Year: 2016
Size: 27.8 cm × 19.7 cm
Client: Countach Studio, Bordeaux
Staggering Souvenir reveals the love affair between the ‘bubblicious’ happening of the World Expo and the effects of rising housing prices on the merciless housing market in Dubai. The World Expo is in a way rooted in superstition—it’s a compulsive ritual—to prove the wealth and architectural power of a nation to the others. Enforcing the superstitious ‘show off’ mentality of the elite on a global scale, and ‘unwelcoming’ the foreign worker on the Emirate streets.
Kwas ist das?
At: Slavs and Tatars
Media: Vacuum-formed plastic
Year: 2016
Edition: 3 + 1AP
Size: 64.0 cm × 91.0 cm


Pan Chrzan
At: Slavs and Tatars
Media: Woolen yarn
Year: 2016
Edition: Unique
Size: ∼200 cm × ∼300 cm


Mme Meerrettich
At: Slavs and Tatars
Media: Woolen yarn
Year: 2016
Edition: Unique
Size: ∼203 cm × ∼312 cm

Architecture for the Poor (S.9)
At: Architecture for the Poor
Media: Painting
Technique: Acrylic
Year: 2016
Size: 61.0 cm × 43.0 cm (framed)
What kind alternative can bubble cooling costs provide for an overheating city? The graph from this Berlin based newspaper depicts the upcoming and downgrading neighbourhoods, zooming in on the toppling Schiller(Szene)kiez where prices have exploded recently.
Architecture for the Poor (S.1)
At: Architecture for the Poor
Media: Painting
Technique: Acrylic
Year: 2016
Size: 61.0 cm × 43.0 cm (framed)
After the fall of the Wall the capital of Germany has opened up, changing housing into neoliberal infused commodity. Is there still room for the poor after 26 years?
Saturday
At: Slavs and Tatars
Media: Vacuum-formed plastic
Year: 2016
Edition: 3 + 1AP
Size: 64.0 cm × 91.0 cm


Keep Avoiding, Subscribe Today!
At: Studio Stan de Natris
Media: Print
Technique: Risograph
Year: 2016
Size: 31.2 cm × 22.2 cm (framed)

CURA №21 - Mystical Substitution
At: Slavs and Tatars
Media: Print
Year: 2016
Pages: 14
Size: 27.0 cm × 20.5 cm
Publisher: CURA Magazine


1000 Euro
At: Studio Stan de Natris
Media: Riso print
Year: 2016
Size: 8.7 cm × 16.7 cm
Paper: Munken Print White 115 g/m²
Client: Multitude, Amsterdam


Sleek №47 - I Utter Other
At: Slavs and Tatars
Media: Print
Year: 2015
Pages: 16
Size: 30.5 cm × 22.5 cm
Publisher: Sleek Magazine


Alphabet Abdal
At: Slavs and Tatars
Media: Woolen yarn
Year: 2015
Size: ∼200 cm × ∼500 cm
Location: Westfälischer Kunstverein, Münster
Photographer: Thorsten Arendt


Qit Qat Qlub
At: Slavs and Tatars
Media: Print
Year: 2015
Pages: 8
Size: 29.7 cm × 21.0 cm
Paper: Hello Silk 110 g/m²
Publisher: Hamburger Bahnhof, Berlin


Reverse Dschihad (Arabic & Tatar)
At: Slavs and Tatars
Media: Polished steel, Silkscreen
Year: 2015
Edition: 3 + 1AP
Size: 244 cm × 122 cm (each)
Location: Hamburger Bahnhof, Berlin


Made in Germany
At: Slavs and Tatars
Media: Vacuum-formed plastic
Year: 2015
Edition: 3 + 1AP
Size: 64.0 cm × 91.0 cm
Location: Pejman Foundation, Tehran
Photographer: Hamid Eskandari


Dschihad
At: Slavs and Tatars
Media: Vacuum-formed plastic
Year: 2015
Edition: 3 + 1AP
Size: 64.0 cm × 91.0 cm


E.R.O.S №6 - Love Letters
At: Slavs and Tatars
Media: Print
Year: 2015
Pages: 16
Size: 18.7 cm × 12.7 cm
Publisher: EROS Press


Mousse №49 - Slavs and Tatars
At: Slavs and Tatars
Media: Print
Year: 2015
Pages: 1
Size: 37.0 cm × 26.0 cm
Publisher: Mousse Publishing
Commision: Kraupa Tuskany Zeidler, Berlin


Odbyt
At: Slavs and Tatars
Media: Vacuum-formed plastic
Year: 2015
Edition: 3 + 1AP
Size: 64.0 cm × 91.0 cm


Jęzzers Język
At: Slavs and Tatars
Media: Vacuum-formed plastic
Year: 2015
Edition: 3 + 1AP
Size: 64.0 cm × 91.0 cm


Both Sides of the Tongue
At: Slavs and Tatars
Media: Print
Year: 2015
Pages: 24
Size: 21.0 cm × 14.8 cm
Paper: Biotop 130 g/m²
Cover: Biotop 300 g/m²
Publisher: NYU Abu Dhabi Art Gallery


Mirrors for Princes
At: Slavs and Tatars
Media: Print
Year: 2014
Pages: 192
Size: 25.0 cm × 20.3 cm
Paper: MultiArt Silk 130 g/m²
Cover: LuxusCard 300 g/m²
Dust jacket: LuxoArt Samt 150 g/m²
Publisher: JRP|Ringier, Zürich


+