Giuliano Iacobelli is the incredible artist behind the wonderful up-and-coming, Lyricalmyrical Books. This independent publishing house is based in Toronto with strong ties to Italy, and specializes in publishing the most exciting contemporary art and photography. The design and attention to detail in each book is incredible to behold. Lyricalmyrical Books is an exciting idea that is getting so much attention both in Italy and here in Canada. If you are interested in art and photography, or are an artist yourself, you should definitely sit up and pay attention to what’s happening at Lyricalmyrical Books.
What is Lyricalmyrical Books?
That is a rather difficult question to answer as Lyricalmyrical Books has taken many forms over the years and is representative of much more than just publishing. In its current form, Lyricalmyrical Books is an independent publishing house focused on publishing visual art/photography books. The press is based in Toronto, Canada, but with roots in Italy, and primarily publishes (but not exclusively) the work of Canadian and Italian visual artists.
On a cultural level, I want the Lyricalmyrical to help foster an artistic dialogue between Italy and Canada: introducing Italian artists and their work to Canadian audiences, and Canadian artists to Italian ones. Canada and Italy each bring rich, distinct cultural and aesthetic traditions, and I believe there’s enormous potential in bringing them closer into conversation.
And on a more personal level, I see Lyricalmyrical as a deeply personal vehicle for cultivating roots in Italy, a land and a culture that I had nearly forgotten about, as it was a nonexistent connection for the major part of my life.
But the history of the publishing house predates me. Lyricalmyrical Press, as it was originally called, was founded by my late father, Luciano Iacobelli, in the late 1990s and early 2000s. He specialized in publishing handmade books of Canadian poetry—DIY creations crafted from recycled book covers, dental floss, cloth, and glue. Over time, he published more than 120 poetry books and, in doing so, was instrumental in nurturing the poetry scene in Toronto, a real grassroots community all without institutional support or recognition.
Given all that, it is also very much a continuation of my late father’s artistic project: an ode to him, to the community he nurtured, and a way of keeping a cultural conversation with him alive. That’s why I kept the name, along with the original drawing of the spirit playing a harp. It symbolizes all these connections.
Why the decision to publish primarily art and photography books?
Shifting the focus to visual art as opposed to continuing with poetry was an intentional way to demarcate my own space and my own vision for the publishing house. It was never going to be the same press as before, it required transformation. I wanted a vision that was true to me and my artistic interests, and visual arts is always something I’ve gravitated towards. Further, Images speak a universal language, easily shared and understood across borders and accessible to many. For a project rooted across borders, in both Italy and Canada, and eventually beyond, this direction made both creative and practical sense.
You recently spent a long time in Italy. What did you learn about the art and photography scene there?
Yes, I recently spent about two years living in Milan and Rome. What really struck me was how much of an established ecosystem already exists in these cities, and across Italy. There are numerous and established independent publishers doing great work, a variety of specialized art book stores, a strong contingent of book festivals in cities across the country, and a large international art book fair called Sprint Milano held every year in November. And to top it all off, it is an ecosystem that exists without the same level of government support that is available in Canada.
Compared to Italy, I feel that Canada, and Toronto in particular, is still very much in its infancy as it relates to its art book scene. The landscape here feels more fragmented, with few established art book publishers across the country and many photographers turning to self-publishing, which, to me, suggests a gap in the ecosystem. While there are some art book fairs, such as those in Vancouver and Halifax, the country lacks a major international event. I would like to advocate for – and even help to organize – a significant, possibly international, art book fair right here in Toronto.
Your books are printed in Italy on Fedrigoni paper. How did you discover this paper and why are you publishing these books this way?
Believe it or not, the majority of art books produced by Italian art book publishers use Fedrigoni, it has become standard practice. They are the preeminent specialty paper supplier in the country. They have a more dynamic selection of paper that I have found in Canada to date, but my understanding is some of their paper products are making their way to the North American market.
One of your latest books, Un Fantastico Altrove, was just featured in Rolling Stone Magazine. What is it about and why is it getting all this attention?
You can thank the author Silvia Clo Di Gregorio for this. She is many things – an artist, activist, director – having co-created a television series on Amazon Prime Italia called Love Club. She, along with her partner, Samuele Galli, actor and screenwriter, have built a strong community in Milan and across Italy, and the article in Rolling Stone Italia is a testament to what they have accomplished.
Un Fantastico Altrove is a photography book – an analog archive – that unfolds like a visual diary, chronicling a queer relationship shaped by time, distance, and transformation over 25 years and counting. Through images and text, it traces the emotional bond between Silvia and Samuele, a queer love story that resists convention and challenges norms. While the article in Rolling Stone was written by Samuele, it offers a poignant and deeply personal reflection on their relationship from his perspective. I believe the book Un Fantastico Altrove and Samuele’s article should be experienced together; they enrich and complete one another.
What are the most challenging parts of running Lyricalmyrical Books?
I think its decentralized nature, albeit, an intentional choice, but it doesn’t make the logistics very neat and tidy! Lyricalmyrical is working out of two countries, Canada and Italy. Interfacing with artists, printers, suppliers from both countries. It is as if I have a separate process for publishing in Canada, and another for publishing in Italy. It is twice the logistics and organization for me and requires help from the very patient artists I work with, but I am hoping to simplify this process in the near future.
You yourself are a visual artist. Has this helped you decide how to choose and edit projects?
To a degree, yes. It’s certainly helped train my eye in several ways. I now feel much more confident in assessing the technical aspects of people’s work and, ultimately, in editing and curating projects with greater intention. But more importantly, it has helped to reshape my understanding of what an art book can be – reframing the book as a piece of art in itself. Elements like paper choice, paper weight, image size, composition on the page, the interplay between two different images across the same spread. They all become tools to help craft a narrative and tell a story through images. Certainly, in the future, I would like to experiment further – integrating three-dimensional sculptural elements on the cover, exploring more handmade/artisanal approaches to bookmaking. It’s more of an intentional way to emphasize the book as a piece of art in its own right.
How does your Italian heritage influence your personal art and your book publishing?
On a personal artistic level, my Italian heritage has exposed me to various Italian art movements/artists that have had a major influence on my visual art production and my personal art taste. I take a lot of cues from the postwar art movements. I’m thinking of Arte Povera, Spatialism, Art Informel. I’m thinking of artists like Burri, Fontana, Castelani, Manzoni. Those who elevated every day materials, objects, textures, who emphasized space and treated the canvas as central to artistic inquiry.
Certainly, I also feel a strong impulse to integrate aspects of Italian culture/Italian stories into what I publish, but to do so in a way that is fresh, contemporary, and ultimately, forward looking. And while we are not a monolith, one could argue that an Italo-Canadian perspective on Italy has been rooted in a nostalgic understanding of a country that exists in our collective fantasies and idealizations, as if we were frozen in time. I would like to introduce works that speak to what is happening on the ground in Italy, at this moment in time. Introduce new voices/perspectives to the fray that tell an alternative narrative of a country in transition.
What kinds of projects would you like people to submit for your publishing consideration?
Ideally, I like projects that break a lot of aesthetic rules; a bit experimental, bold, expressionistic in nature. Photography will always be welcomed, but I am also interested in exploring avenues like creating publications for visual art exhibitions, digital art, even archival art projects. Anything visual that can conceivably be printed on paper.
Established artists or beginners, no prerequisites or qualifications required. Rather the mark of a good project for me is when the images have the capacity to speak for themselves and have a clear narrative, rather than with the aid of the written word. And I will be very clear here, ALL are welcome to submit, not just Italians and Canadians.
What advice do you have for artists trying to launch their careers in Italy and Canada?
It still feels a bit strange to be giving advice as I am still navigating my way in this world and have not yet fully established myself, so any advice should be taken with a grain of salt. That said, for those trying to launch an artistic career in Italy and/or Canada, it’s essential to be aware of the cultural context you’re entering. Italy and Canada are two very different artistic ecosystems each shaped with two distinct histories, traditions, even different relationships to contemporary issues – including social justice. What might resonate with Canadians might not be as important to Italians, and vice versa.
At the same time, I believe your artistic vision will, in many ways, choose the place for you. In my experience, launching (or rather, relaunching) Lyricalmyrical and shaping my artistic vision was deeply tied to a longer, more personal reflection on identity. The publishing house is not merely a professional endeavour; it was the result of an internal process. It is an attempt to reconcile my history, heritage, and artistic vision into something outward-facing and real. And in doing so, it naturally led me to build something rooted in both countries.
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