On the occasion of the closing of 2019, Fiction Fiction unfolds as a haunted anticipation—out of sync yet charged with precedent. A photograph of a barricade, the sound of an aura, ultra wet. A poetic juxtaposition, a confluence of dances, movements, almost-thoughts, and gestures drawn from BRUNO (2021) and Death by Landscape (2024), two previous works by Alix Eynaudi, performed together with Hugo Le Brigand.

Here, choreography is an act of reconfiguration—an imprint reanimated, a tender negotiation of presence. Movements drift through a present marbled with memory, where past gestures are not simply repeated but unevenly altered, reassembled, rethought. Words press beneath the skin of dance, an endless reinterpretation, a porous exchange between what was and what remains, between fiction and fiction.

The performance will be introduced by Raimundas Malašauskas on the occasion of the book launch of Suzon: Selected Writings by Raimundas Malašauskas, in which Alix Eynaudi makes an appearance. The book is available here.

Concept: Alix Eynaudi
Dance & choreography: Hugo Le Brigand & Alix Eynaudi
Costumes: An Breugelmans
Music: turf + surf aka Han-Gyeol Lie & Paul Kotal
Duration: 60 minutes

ALIX EYNAUDI dances, works, and writes between craft and chaos, embracing a (mostly) joyful mess. She never works alone; every event, research, or invitation is an alibi to spend time with accomplices—a mesh of friendships shimmering under the skin, a stirring of wonder-filled support. She specializes in choreographic hanging-out sessions. Her most recent works include Death by Landscape, a concert (2024), Institute of Rest(s) (2023), and BRUNO (2021). Her work has been presented at: MACRO, Rome; Tanzquartier, Vienna; Kaaitheater, Brussels; far° festival, Nyon; Xing, Bologna; Biennale di Venezia, Venice; Contemporary Art Centre, Vilnius; brut, Vienna; Volkskundemuseum, Vienna; Wiener Festwochen, Vienna. She lives in Vienna.

HUGO LE BRIGAND delves into dance as a medium for creative encounters and versatile collaborations. He has worked with a diverse range of artists, including Doris Uhlich, Alix Eynaudi, Sebastiano Sing, Daniela Georgieva, Ulduz Ahmadzadeh, and Ari Benjamin Meyers, among others. He is based in Vienna.

Light is a retrospective tracing Elena Narbutaitė’s engagement with lasers and LEDs, presenting works from 2013 to today.

Laser and LED are two distinct forms of light, each with their own rhythm and resonance. A laser’s beam is a sharpened line, its waves perfectly in phase – a coherence that gives it the power to cut, measure and guide. The LED, by contrast, is an unfolding glow, its photons out of step, its wavelengths blending into a spectrum that shifts and scatters. One involves focused precision, the other a dispersed field of color. Both are familiar from situations as diverse as the vibrant pulse of a party, the lethal targeting of warfare, the beam that holds an electronic door ajar, or the silent transfer of data. Narbutaitė reconfigures these ubiquitous associations, reimagining the cold accuracy of industrial lasers and the ambient shifting hues of LEDs into something unbound.

Fabricating intimacy and disquiet with exacting attention, Narbutaitė orchestrates moments in which light becomes an event – most visible when it collides with a surface, materializing as a cut in space or imbuing it with deep feeling. The beams do not merely illuminate; they shapeshift, slicing through the air with an intensity that unsettles as much as it mesmerizes, their degree of visibility changing as the brightness of the day dictates.

These works harness tension – between a radiance that delights and wounds, balms and beckons. Light, in Narbutaitė’s eyes, is a surgical yet seductive force, its edges menacing in their allure. It is ephemeral while absolute, a trace that vanishes as quickly as it appears, dissolving into the very space it momentarily inhabits. Her works do not just move through space; they press into it like a lingering resonance, an imprint of something felt and fleeting; they create a choreography of perception, inviting one to step into an architecture made of nothing but light.

Light is a meditation on its own double binds – how it dazzles and guides, divides and connects. To discern is to see and not see at the same time – to be blinded by clarity, to lose oneself in the sharp edge of illumination. It overwhelms even as it reveals, a paradox of vision and obscurity. In bending light, Narbutaitė gives structure to such feelings.

ELENA NARBUTAITĖ (b. 1984) lives and works in Vilnius. She has participated in exhibitions internationally, including the joint Lithuanian and Cyprus pavilion at the 55th Venice Biennale (2013) and the Liverpool Biennial (2016). Recent exhibitions include  2019, Grazer Kunstverein, Graz (2024); 15th Baltic Triennial: Same Day, Contemporary Art Centre, Vilnius (2024); Unknown Familiars, Leopold Museum, Vienna (2024); Mars Returns, Mykolas Žilinskas Gallery, Kaunas (2022); Nashashibi/Skaer: Thinking Through Other Artists, Tate St Ives (2018); Rehearsal, Tai Kwun Contemporary, Hong Kong (2018); and Dools, Carré d’Art Nîmes (2018). She is an associate editor for BILL, an annual magazine of photographic stories initiated by Julie Peeters.

2019 was a transformative and tumultuous year for Ariana Reines. After seven years of dedicated work, her ambitious writing project culminated in the publication of A Sand Book, a 400-page poetry epic, which concludes in a theophany with the sun. Like an enraged Demeter, or a Persephone in denial, Reines had given up her Queens apartment to save her mom from the streets, dragging her in-progress manuscript around the world in a glorified homelessness the contemporary artworld might more politely call “a busy career.” She spoke to strangers and to TV audiences, unintentionally accumulated a colorful array of lovers, enrolled at Harvard Divinity School, and generally lived “as variously as possible” — to quote Frank O’Hara — in the many ways she is known for: connecting cosmic and private dimensions in the most public and touching way, teaching, analyzing ancient texts, reading stars, appearing on TV and recreating in real time what a poet can be.

In her poetry and public performances, Reines strives to communicate with intelligence and spontaneity, channeling her words directly from the heart. Or in her own words: “Our hearts were the bombs whose threat never withdrew.” For 2019: an endurance, Ariana Reines will delve into the profound experiences that shaped her transformative 2019 and explore where those currents have carried her since. The event promises to be a free-flowing improvisation, combining the insights of deep meditation with a direct encounter with the audience.






ARIANA REINES is a poet, playwright, and performing artist from Salem, Massachusetts and based in New York. Her books include The Rose (forthcoming, 2025), Wave of Blood, A Sand Book—winner of the 2020 Kingsley Tufts Award and longlisted for the National Book Award—Mercury, Coeur de Lion, and The Cow, which won the Alberta Prize from Fence in 2006. Her Obie-winning play Telephone was commissioned by the Foundry Theatre with a sold-out run at the Cherry Lane Theatre in 2009. Reines has created performances for the Solomon R. Guggenheim Museum, the Swiss Institute, Stuart Shave/Modern Art, Le Mouvement Biel/Bienne, the Whitney Museum of American Art, and Performance Space New York. She has taught poetry at UC Berkeley (Holloway Poet), Columbia, NYU, and Scripps College (Mary Routt Chair), been a visiting critic at Yale School of Art, and for community organizations including the Poetry Project and Poets House. Her poetry and prose have been published in The New Yorker, Poetry, Artforum, Frieze, Harper’s, and many others. In 2020, while a Divinity student at Harvard, Reines created Invisible College, an online space devoted to the study of poetry, sacred texts, and the arts.

Suzon — both a reprint of Raimundas Malašauskas sold-out book Paper Exhibitions from 2012 and a new collection of writings by the author that have happened since — offers a window onto Malasauskas’ worldview, based on collective improvisation, congregation and continuous drift. It includes essays, exhibition guides, personal letters, song lyrics, an opening speech and a cocktail recipe offering a glimpse of what perhaps in a few years we will look back upon as L’esprit du temps.

The publication Suzon is printed on the reverse of the revised edition of Paper Exhibition, which was originally published in 2012 by Sternberg Press, Kunstverein Publishing, Sandberg Institute, and the Baltic Notebooks of Anthony Blunt (Baltish Arts Magazine).

Editors: Tom Engels, Yana Foqué & Krist Gruijthuijsen
Design: Goda Budvytytė
Copy-editor: Stuart Bertolotti-Bailey
Printer: Graphius, Ghent
Publishers: KW Institute for Contemporary Art (Berlin), Grazer Kunstverein (Graz), Kunstverein Publishing (Amsterdam), Baltish Arts Magazine (Vilnius) and Verlag der Buchhandlung Walther und Franz König (Köln).
ISBN: 978-3-7533-0767-1

€ 22,00

About RAIMUNDAS MALAŠAUSKAS: When growing up in Vilnius, then capital of Soviet Lithuania, Raimundas Malašauskas wanted to become a chef on a trans-oceanic ship but ended up studying art history and theory at Vilnius Academy of Arts. He was particularly drawn to the period of Mannerism in the sixteenth century but ended up writing a study of art criticism of the 1970s and ’80s.

Following a period as a curator at the Contemporary Art Centre in Vilnius from 1995—2006, he has worked itinerantly ever since, driven by what he describes as ‘intellectual wanderlust’ with extended periods of time spent in Bangkok, Cairo, Brussels, Delhi, Hong Kong, Mexico, Paris, and San Francisco, among other places. Writing has been a constant companion during these journeys — a means of both curating exhibitions and experiencing daily life.

2019 is an exploration of a year poised on the brink of change – a moment both recent and elusive, suspended between the mundane fabric of daily life and the pull of an unanticipated future. The air of 2019 carried the hum of the ordinary: city streets pulsing with rhythms, handshakes sealing fleeting alliances, clouds forming with unsettling indifference. But beneath that hum was something else – a frantic, fractured culture teetering under the weight of its own choices and regrets, imposed and self-inflicted, bloated by its own consumption. And now, in the stillness left behind, you might sense it too: the bustling sigh of a world unready for the storms that followed. 

In retrospect, 2019 stands as the closing act of a waning era, now familiar as a turning point in the cycle of time, yet too fresh for scholarly distance to dissect. 2019 features works that were variously created that year, corrupted by its events, or tinged with its prophetic undercurrents. But this is not nostalgia. This is not history. This is 2019, a portrait of a year unraveling at the seams and unprepared for what came next. A year at the edge of its own comprehension.

Artists in 2019 include Alix Eynaudi, Alexandra Sukhareva, Ana Jotta & Pierre Leguillon, Ariana Reines, Bradley Kronz, Cathy Weiss & Fred Holland & Ishmael Houston-Jones, Elena Narbutaitė, Gintaras Didžiapetris, Henrik Olesen, Jason Dodge, John Menick, Julie Peeters, Koenraad Dedobbeleer, Malak Helmy, Morgan Quaintance, Pratchaya Phinthong, Rosalind Nashashibi, and Simone Forti.

On the opening night of 2019, Ariana Reines will perform 2019: an endurance, expanding on her contribution to the exhibition and introducing a forthcoming publication by Grazer Kunstverein. Further public programming will be announced at a later date.

2019 also marks the launch of Suzon: Selected Writings by Raimundas Malašauskas, which combines a reprint of Malašauskas’s out-of-print 2012 publication Paper Exhibition with a new collection of texts written since then. The book is edited by Tom Engels, Yana Foqué, and Krist Gruijthuijsen, designed by Goda Budvytytė, and published by KW Institute for Contemporary Art (Berlin), Kunstverein Publishing (Amsterdam), Grazer Kunstverein (Graz), Baltish Arts Magazine (Vilnius), and Verlag der Buchhandlung Walther und Franz König (Köln). Suzon can be purchased here.

Curated by Tom Engels and Raimundas Malašauskas, 2019 follows their previous collaboration Circa 2022, an exhibition delivered by post from Montos Tattoo in Vilnius.

The Weight of the Concrete explores the legacy of the Turinese artist and publisher Ezio Gribaudo (1929–2022), examining his multifaceted oeuvre at the confluence of image and language. This publication, named after Il Peso del Concreto (1968)—a seminal work that featured Gribaudo’s early graphic creations alongside an anthology of concrete poetry edited by the poet Adriano Spatola (1941–88)—places Gribaudo’s work in conversation with approximately forty artists and poets from different generations, all of whom similarly engage with explorations of text, form, and visual expression.

Reflecting the editorial premise of Il Peso del Concreto, The Weight of the Concrete revisits the influential anthology, including archive material that documents its production, and reimagines it, pairing Gribaudo’s graphic work with a new selection of historical and contemporary concrete and experimental poetry.

At the heart of the volume is Gribaudo’s emblematic Logogrifi series, developed from the 1960s onward. The Logogrifi reveal his deep engagement with the art of bookmaking and fascination with industrial printing processes, relief matrices, typefaces, and language games. Rooted in linguistic or visual riddles, the Logogrifi function as visual and linguistic puzzles, akin to logogriphs, in which cryptic verses hint at a hidden keyword and provide clues to other words derived from its letters.

In this new edition, the editors take the opportunity to revisit Gribaudo’s pioneering work, examining previously overlooked dimensions—gendered, geographical, and technological—and exploring contemporary associations beyond the original context. The book also includes essays that elucidate the poetic and political interplay between image, language, and materiality.

This publication is released following Ezio Gribaudo – The Weight of the Concrete, an exhibition held at the Grazer Kunstverein in Graz, Austria (2023–24), and at the Museion—Museum of Modern and Contemporary Art in Bolzano-Bozen, Italy (2024).

Edited by Tom Engels and Lilou Vidal
Published by Axis Axis and Grazer Kunstverein

Contributions by Anni Albers, Mirella Bentivoglio, Tomaso Binga, Irma Blank, Al Cartio, Paula Claire, CAConrad, Natalie Czech, Betty Danon, Constance DeJong, Mirtha Dermisache, Johanna Drucker, Bryana Fritz, Ilse Garnier, Liliane Giraudon, Susan Howe, Alison Knowles, Katalin Ladik, Liliane Lijn, Hanne Lippard, Sara Magenheimer, Françoise Mairey, Nadia Marcus, Giulia Niccolai, Alice Notley, Ewa Partum, sadé powell, N. H. Pritchard, Cia Rinne, Neide Dias de Sá, Giovanna Sandri, Mary Ellen Solt, Alice Theobald, Colleen Thibaudeau, Patrizia Vicinelli, Pascal Vonlanthen, Hannah Weiner, and Ruth Wolf-Rehfeldt

Essays by Alex Balgiu, Tom Engels, Nadia Marcus, Luca Lo Pinto, Mónica de la Torre, and Lilou Vidal

22 x 32 cm
208 pages (ENG-IT)
First edition
800 copies

Annex:
22 x 32 cm
48 pages (ENG-IT)
800 copies

€ 36,00

Schlingen Blängen is a seminal composition by the American artist and composer Charlemagne Palestine, first conceived in the late 1970s, that has continuously evolved over the decades. At its core, the piece explores the vast sonic possibilities of the organ, transforming it into a resonating body of layered, immersive sound. Through the use of long, sustained tones and gradual, almost imperceptible shifts in harmony, Schlingen Blängen creates a hypnotic, meditative atmosphere that invites listeners to lose themselves in the interplay of sound and space.

Performed on site-specific organs, each rendition of Schlingen Blängen becomes a unique encounter between the music and the architecture of the setting. The organ’s capacity for deep, resonant tones and delicate overtones is paired with the natural acoustics of the space, with sound reverberating off walls and ceilings, turning the venue itself into an instrument. Palestine’s approach to composition, focused on repetition and slow evolution, heightens the sensory experience, immersing listeners in a sonic environment where time seems to stretch and shift.

Palestine’s unique approach to the organ involves merging the varied timbral registers of a traditional church or theater organ in a continuous search for what he calls the “Golden Sound.” Through his distinct continuum key prolonging technique, Palestine sustains and layers tones, allowing him to create a vast range of nuances in the organ’s timbres. The result is a massive, magical sonorous storm cloud of sound that vibrates and interacts with the architecture of each space, making every performance a singular experience of complex and evolving textures.

In the context of Josef Dabernig’s exhibition Lacrimosa, Schlingen Blängen underscores the central role of organ music in Dabernig’s recent works. The performance celebrates the beginning of the exhibition’s second chapter and echoes the thematic exploration of ritual, memory, and transformation present throughout Dabernig’s films, while simultaneously standing as a testament to Palestine’s engagement with the spiritual and acoustic dimensions of the organ.

CHARLEMAGNE PALESTINE (b. 1947, Brooklyn, NYC) is a sound artist, composer, performer, and video and installation artist based in Brussels. A contemporary of Philip Glass, Terry Riley, Phill Niblock, and Tony Conrad, Palestine has been creating intense, ritualistic, continuum music for electronic sound sources, bell carillons, pipe organs, pianos, voice, and other keyboard instruments since the 1960s. Originally trained as a cantor and later a carillonneur, he is a composer-performer who always performs his own works as a soloist. Among his first key works are his electronic continuums and his sonority explorations, referred to as Golden Sonorities. Other notable works include his continuum form Strumming Music, the two-hour sound performance Karenina, and Schlingen Blängen, a sonic continuum form for pipe organs that he has been continuously developing since the 1970s. Palestine stopped performing in the early 1980s and until the mid-1990s, devoting himself entirely to creating plush animal divinity altars as multi-media sculptures and installations. These altars are often an integral part of his performances. Since his return to performing, Palestine has reissued works from the 1960s and 1970s on CD and vinyl and has performed and exhibited internationally. Notable recent performances include illlummminnnatttionnnsssss!!!!!!! with Simone Forti at MoMA, New York City, and The Louvre, Paris (2014); STTT THOMASSS ‘’’’”‘”DINGGGDONGGGDINGGGzzzzzzz ferrrr TONYYY’’’’’’’ , organized with Blank Forms and performed at St. Thomas Episcopal Church, New York City (2017); as well as his participation in the 2014 Whitney Biennial, presenting Stairway Song, a site-specific twelve-channel sound installation. Exhibitions focusing on his sculptural and musical work include Voodooo at WIELS, Brussels (2010); GesammttkkunnsttMeshuggahhLaandtttt at Kunsthalle Wien (2015) and Kunstinstituut Melly, Rotterdam (2016); Bibbidi-Bobbidi-Boo at Meredith Rosen Gallery, New York City (2023); and Post Scriptum: A museum forgotten by heart at MACRO, Rome (2024).

Lacrimosa is an exhibition centered on the Austrian premiere of Josef Dabernig’s latest film, carrying the same name. The film portrays an unconventional farewell ritual led by Dabernig’s aunt, Anni Dabernig, who was an organist and teacher. Together with his grandchildren, she orchestrates a procession through her home in Kötschach-Mauthen, the Austrian village in which he grew up. At the center of this ceremony is a child-sized, enigmatic coffin whose journey through the house transforms both into silent protagonists. Folded hands, furtive glances, rosaries, and a commode chair are the elements of an eccentric children’s game in which the illustrious group navigates between intimidation, rebellion, and a dangerous staircase, all the while grappling with existential questions. 

In keeping with Dabernig’s practice of working closely with friends and family in his moving image work, the film is interwoven with a monologue written by Dabernig’s longtime collaborator, Bruno Pellandini, and performed by his wife, Johanna Orsini, describing Pellandini’s grandparents’ home in Ticino, Switzerland. Through Dabernig’s exploration of the overlapping architectures of the two homes—one in Switzerland and the other in Austria—these buildings become repositories of memories, capturing the domestic infrastructures of lives lived, lost, and ultimately rediscovered. Five days after the shoot of this cinematic requiem was concluded, Anni Dabernig passed away.

Lacrimosa sets the tone for a retrospective exploration of Dabernig’s moving image oeuvre, suffused with the themes of death, mourning, elegy, and the resonant presence of organ music. Set against a scenography of film props and objects from his aunt’s Krassnig Villa, the exhibition unfolds in two chapters, spanning early and recent works. The first chapter (September 21 – October 20) presents Heavy Metal Detox (2019) and Gertrud & Tiederich (2018), while the second chapter (October 23 – November 17) features All the Stops (2020) and Stabat Mater (2016). Central to both chapters are Lacrimosa (2024), Rosa coeli (2003), and Parking (2003).

To celebrate the beginning of the second chapter of the exhibition and to underscore the prominent role of organ music in Dabernig’s most recent works, the American composer and artist Charlemagne Palestine will perform Schlingen Blängen, an ongoing exploratory organ composition he has been developing since the late 1970s, on October 23 at 8:00 pm in the Herz-Jesu-Kirche in Graz.

The exhibition is accompanied by a publication featuring an essay by Krzysztof Kościuczuk and a visual essay by Dabernig, with photographs of his aunt’s villa.

JOSEF DABERNIG (b. 1956, Lienz, Austria) is an artist and filmmaker living in Vienna. Recent solo exhibitions include Lancia Thema, The Black Box, Wschód, New York, USA (2023); Wisla, Museum Jorn, Silkeborg, Denmark (2023); and Equally Not Nothing, Galerie Stadtpark, Krems, Austria (2020). Dabernig’s work was a part of the 49th and 50th Venice Biennale in 2001 and 2003; Manifesta 3 (2000, Ljubljana) and 10 (2014, St. Petersburg); the 9th Gwangju Biennale (2012); Contour – 6th Biennial of Moving Image, Mechelen (2013); Bergen Assembly (2013); and steirischer herbst, Graz (2020, 2022). His films have been featured across various film festivals internationally, including the International Short Film Festival Oberhausen, International Film Festival Rotterdam, Locarno Film Festival, Venice Film Festival, Mar del Plata International Film Festival, Melbourne International Film Festival and the Toronto International Film Festival. In 2004, Dabernig presented his exhibition Josef Dabernig: Proposal for a New Kunsthaus, not further developed at Grazer Kunstverein, which was accompanied by a namesake publication.

A co-operation with steirischer herbst ’24

This publication coincides with Curtis Cuffie’s New York City, an exhibition presenting Curtis Cuffie’s work as captured in photographs by Katy Abel, Tom Warren, and Cuffie himself. Unlike the exhibition, this book exclusively features Cuffie’s photographs. It is the eight entry in a series of compact volumes featuring visual contributions, correspondence, responses, and conversations accompanying the Grazer Kunstverein exhibition program. 

Curtis Cuffie (1955–2002) was an artist based in New York City’s East Village. Originally from Hartsville, South Carolina, he moved to Brooklyn at the age of fifteen and eventually settled in Manhattan, first near Bryant Park and later around the Bowery where he lived unhoused for long stretches of his life. Artforum, The New York Times, and The Village Voice all profiled and reviewed his work and he held solo exhibitions at Flamingo East, Tribes, and 4th Street Photo Gallery, all in New York. During his lifetime, Cuffie was featured in nearly a dozen group shows across the US at various venues including Exit Art, American Primitive, and the Jamaica Art Center in New York, as well as the American Visionary Art Museum in Baltimore. Cuffie was integral to a dynamic circle of artists and intellectuals, marking his place within New York’s black avant-garde. Recently, his work has been presented in exhibitions across New York City, including Souls Grown Diaspora (2020) at Apexart, curated by Sam Gordon; Greater New York (2021) at MoMA PS1, curated by Ruba Katrib; and Curtis Cuffie (2023) at Galerie Buchholz, curated by Scott Portnoy. Curtis Cuffie, a book edited by Scott Portnoy, Robert Snowden, and Ciarán Finlayson, and designed by Julie Peeters, was published by Blank Forms in 2023.

Editor: Tom Engels
Photographer: Curtis Cuffie 
Graphic Design: Julie Peeters
Printing and binding: Benedict Press, Münsterschwarzach
Edition: 350
Typeface: Kleisch GK by Chiachi Chao
Photo credits: All photographs in this publication, both color and black and white, were taken by Curtis Cuffie between 1990-1999. They have been reproduced with the permission of Carol Thompson and Galerie Buchholz
128 pages, color, B&W
ISBN: 978-3-9505230-7-2
Price: 15,- euros, 9,- euros for members

You wrote: the title of his exhibition is the collection of images that accompanies it. Three images of a red eye, split, side by side.

You said that the first image, a red shape against a grey backdrop, felt familiar but resisted identification. You told me that it reminds you of an eye, vigilant and watchful, intertwined with the sharpness of a pointer, guiding. 

You wrote: this image is like a half-memory, in a haze, details softened, an invitation to ponder its secrets.

In the second image, you told me, similar shapes appear. The eye and arrow merge in their enigmatic pull, centered on the screen, details blurred at the edges, as if the lens was smudged. You wondered if it is a twin to the first piece, and whether this suggests that clarity is not always necessary for understanding. Is this movement a suggestion, a gentle nudge towards meaning?

You wrote: the quality of these images will draw you towards a mysterious dance.

The third image, you said, will stand with bold clarity once the blur is mostly lifted to reveal the design. The red lines will be crisp against a brownish-white background, the eye’s form will be distinct, the cursor’s thrust confident and unwavering. You said you will want the image to speak with a clear voice, as its symbolism becomes unmistakable: the fusion of vision and direction, perception and purpose. 

You wrote: this image will crystallize what the others hinted at.

These three images, like his exhibition, did not use words. You wrote that the images themselves generated language. That they served as a premonition of something not yet realized. You said that you had heard songs of green and yellow and silver and the smell of camphor. And in that absence of words, we tried to make images speak.

The exhibition is curated by Tom Engels and will be accompanied by a publication developed by Jason Dodge, Julie Peeters, and Tom Engels.

On the occasion of the exhibition’s opening, as well as the joint openings at Halle für Kunst Steiermark and Neue Galerie Graz, a shuttle bus from and back to Vienna will be provided. 

Departure Vienna: 2:00 pm, Operngasse 4, Buszone, Wiener Staatsoper
Return 10:00 pm, Burgring 2, Halle für Kunst Steiermark

More information can be obtained by emailing office@grazerkunstverein.org.

JASON DODGE recently presented the solo exhibitions Tomorrow, I Walked to a Dark Black Star at MUDAM, Luxembourg (2024); Cut a Door in the Wolf at MACRO, Rome (2021); and They Lifted Me into the Sun and Packed My Empty Skull in Cinnamon, a six-part exhibition held at Akwa Ibom, Athens; Guimarães, Vienna; MOREpublishers with Gevaert Editions, Brussels; Galleria Franco Noero, Turin; and Gern en Regalia, New York (2020). In 2014, he curated Ronald Jones: 1987–1992 at the Grazer Kunstverein in collaboration with Krist Gruijthuijsen, its former artistic director, which was accompanied by Ronald Jones, a publication published by Grazer Kunstverein and Motto Books. Dodge founded and continues to edit the poetry imprint fivehundred places, and lives on the island of Møn in Denmark.