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Skopje’s “New” Railway Station is a frozen space where graffiti keeps asserting life. Rusted wagons, abandoned platforms, and painted surfaces form a landscape of decay and resistance. Moving between present-day ruins and a 1987 arrival in Skopje by train, the text documents a city caught between memory and erasure.

Vagabundler in Skopje reveals the Macedonian graffiti scene as a living, breathing archive of urban expression. Through thousands of photographs and intimate interviews, Skopje emerges as a textured dialogue between wall and artist — a fragile visual memory now finally placed on the global map of street art.

A first-person walk through Veles, written as urban archaeology: bridges as memory, graffiti as politics, steep streets as philosophy. Across two days of climbing and descent, the city reveals itself as layered and improvised—a place you must physically move through to understand, and emotionally descend into to feel.

A first-day walk through Veles as urban archaeology: steep hills instead of boulevards, doors for “dwarfgiants,” forgotten houses, political echoes, and scarce graffiti. Searching for street art becomes a deeper reading of architecture, and memory embedded in the city’s hills, railways, and everyday encounters.

GRRFT is an independent, Skopje-based magazine documenting graffiti and urban culture in Macedonia. Focused on archiving the SK/MK graffiti scene, it treats graffiti as visual communication, urban archaeology, and cultural memory, preserving the voices and walls that shape the country’s cities.

Set against the backdrop of Ilinden, the text reads the Bolji Život music video as an urban palimpsest, where graffiti act as scenography and collective memory—silent witnesses to Skopje’s hip-hop roots, struggles, and unfinished hopes of a city still searching for a better life.

Set in a narrow passage behind Skopje’s Journalists’ Club, Graffiti Maalo explores the fragile line between street art and vandalism. Moving through memory, film, and lived space, the text traces how graffiti layers accumulate over time—through generations, crews, and chance encounters—revealing an improvised open-air gallery where rebellion and everyday life collide.

Walls That Speak: Graffiti Stories from the Streets of Skopje is a book by Bert Stein that documents the city through its walls. Combining more than 300 photographs with personal essays, the book treats street writing as urban memory, resistance, and lived expression—an intimate archive of voices that rarely enter official histories.

Zork 31: Geometry That Comes Alive on the Wall profiles a Skopje-based graffiti artist whose architectural background informs a precise, three-dimensional style. Through observation and interview, the text captures a third-generation writer working where geometry, color, and community meet on the city’s walls.

From a “Five-Kebab Sandwich” to a “Luxury Location” is a personal urban essay set in Bunjakovec, where memory, everyday rituals, and aggressive redevelopment collide. Through graffiti, childhood recollections, and street life, the text reads the neighborhood as a living archive of Skopje’s contradictions, decay, and resilience.

Set around the residential towers opposite Skopje’s Cathedral of St. Clement of Ohrid, this text reads the area as an informal open-air graffiti archive. Moving between 1990s alternative culture and contemporary street art, it shows how modernist towers became a canvas for memory, politics, and shifting graffiti generations in Skopje, Macedonia.

Seen through the eyes of a drifting fly, this text reads Snow White Dies at the End as an urban time capsule. Graffiti becomes scenography and memory, tracing overlapping generations behind Skopje’s Journalists’ Club—walls that witness unrealized dreams, repetition, and the quiet persistence of city life.

From a failed exam and an empty ZIP file to the birth of DreadCrew, this interview traces ZIP/ZIPER’s path through Skopje’s graffiti scene. Rooted in Čento, shaped by crews like EBSF and writers such as VUTAR, RASK, and SRK, it reveals graffiti as community, mentorship, and persistence.

This text accompanies the “(Almost) Definitive timeline – SK/MK Graffiti Crews (1995–2025)” poster, mapping three decades of Macedonian graffiti. Based on year-long research, it presents crews, styles, and generations as a living urban archive and visual family tree of street culture.

A walk through Skopje’s Debar Maalo unfolds as an exploration of memory, graffiti, and personal history. Moving from ruined cinemas to crew-marked walls, the text blends autobiography and urban archaeology into a reflection on loss, continuity, and a neighborhood constantly rewriting itself.

A walk along the overlooked side of Skopje’s Vardar quay traces graffiti, decay, and memory through a forgotten urban corridor. Blending street art and reflection, the text questions invisible city borders and suggests that the “other side” is part of the same fading urban story.

Set in Skopje’s Green Market, this text moves between market stalls and graffiti-covered walls to portray a city caught between rebellion and resignation. Through fading slogans and layered street art, the market emerges as a living archive of urban memory, irony, and resistance.

A bicycle journey through Madžari, a neglected Skopje neighborhood, becomes a search for graffiti that never appears. Instead, silence, decay, and memory reveal how absence itself can act as urban expression, and how forgotten places speak through what’s no longer written on their walls.

A bike ride through the towers of London Maalo in Skopje becomes a journey through memory and rebellion. Graffiti-covered walls act as urban hieroglyphs, tracing youth culture, political anger, and personal nostalgia—marks of a generation shaped by transition and the need to say: I was here.

Walking along Ilindenska Street in Skopje becomes a journey through personal memory and urban history. From alternative cultural hubs to graffiti-covered towers, transformers, and park benches, the text reads street art as a living archive—where youth rebellion, artistic continuity, and the city’s changing identity intersect.

Set inside T.C. Skopjanka, a fading post-socialist shopping center in Skopje, this text reads graffiti, decay, and forgotten shops as a living archive of transition. Moving between personal memory, political slogans, and fragile traces of resistance, the essay reveals Skopjanka as a mirror of contemporary Macedonia—where past hopes, present contradictions, and uncertain futures collide on neglected walls.

What begins as graffiti documentation beneath Skopje’s New Railway Station becomes a story of memory and hidden creative networks. Through Flim’s role in the 2009 White Night festival, the text reveals street art as a fragile archive of moments and collaborations, constantly rewritten by time.

Beneath Skopje’s New Railway Station, an abandoned modernist vision has become a vast underground graffiti gallery. From pioneers like Drash and Chrome to newer generations, the painted pillars document decades of street art—turning concrete into a living archive of Macedonia’s urban culture and change.

A candid Instagram conversation with RASK/PACK of the EBSF crew offers a rare look behind Skopje’s graffiti anonymity. Beyond tags and walls, the text explores music, doubt, friendship, and street art as a quiet philosophy of freedom on the edge of legality.

A portrait of Vutar—graffiti writer, rapper, and tattoo artist—at the intersection of Skopje’s street art and hip-hop scene. Through walls, rhymes, and friendships, the text traces the EBSF crew’s evolution and the shared roots linking graffiti and rap.

An in-depth conversation with Hrom, one of Skopje’s key graffiti writers, tracing his path from illegal street work to founding the city’s first graffiti shop. Through reflections on rebellion and independence, graffiti emerges as resistance and living urban memory.

A personal, time-layered reflection on Before the Rain (1994), weaving film history, youth memory, graffiti, and street art into a portrait of Skopje and Macedonian reality, showing how a landmark film continues to echo across cities and generations.

Graffiti on the Pintija–Drachevo road tells a story of impermanence, memory, and the fragile life of street art. Through one wall in Skopje—painted, collapsed, and rebuilt—the text reflects on graffiti as a temporary expression shaped by the city, nature, and politics, and preserved only through documentation.