This publication accompanies Eyes, an exhibition presented in public space, featuring seven billboards across the city of Graz, each displaying compositions of eye makeup by Inge Grognard, photographed by Grognard herself backstage during the preparation of runway preparations and fashion shoots. Much like the large-scale billboards, the images in Eyes focus exclusively on the eye, highlighting it as an isolated subject, emphasizing it as a site of composition, color, and texture, while retaining its capacity to convey emotion and depth. Makeup has a long history as both adornment and self-expression, embedded in daily rituals yet constantly evolving as a form of creative and cultural practice. By isolating the eye, Eyes highlights this tension between routine and abstraction; displaced from their original context, the images draw attention to makeup as an independent visual language rather than a supporting element within a larger aesthetic context. Grognard is known for her raw, unconventional approach to makeup, often exploring distortion, asymmetry, and non-traditional materials. Eyes highlights these motifs by transferring them within the wider urban environment, inviting passersby to engage with makeup not as mere embellishment, but as a potent act of composition – one that reclaims it as a site of agency and unruliness.
The publication is the tenth in a series of compact volumes that accompany the exhibition program at Grazer Kunstverein.
Editors: Tom Engels, Julie Peeters
Images: Inge Grognard
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 are by Inge Grognard, documenting her makeup work for Alyx, Amiri, ATLEIN, Balenciaga, Christian Wijnants, Diesel, Dumitrascu, Eckhaus Latta, Emilio Pucci, Jean Paul Gaultier, Junya Watanabe, Peter Pilotto, Uma Wang, Vetements, among others.
64 pages, color
ISBN: 978-3-9505800-1-3
Price: 15,- euros, 9 for members
INGE GROGNARD (b. 1958) is a pioneering Belgian makeup artist whose work has shaped avant-garde fashion for decades. As a teenager, she befriended Martin Margiela—an encounter that shaped both their creative paths, leading to a two-decade collaboration that helped define the raw, deconstructed aesthetic of Maison Martin Margiela. In the mid-1980s, Grognard became an integral force within the Antwerp Six, working closely with Dries Van Noten, Ann Demeulemeester, Walter Van Beirendonck, Dirk Bikkembergs, Dirk Van Saene, and Marina Yee. Her unconventional approach to beauty—gritty, surreal, and often unsettling—became a hallmark of Belgian fashion’s radical identity. Grognard has continuously challenged conventional beauty standards, rejecting polished perfection in favor of rawness, imperfection, and subversion. Her work often emphasizes distortion, asymmetry, and unconventional materials, pushing the boundaries of what is traditionally considered beautiful. Beyond the Antwerp Six, Grognard continued to shape the next wave of designers emerging from Antwerp’s Royal Academy of Fine Arts Fashion Department, including Raf Simons, Veronique Branquinho, Haider Ackermann, A.F. Vandevorst, Bernhard Willhelm, Christian Wijnants, Demna Gvasalia, and Glenn Martens. Her work extends across some of the most groundbreaking houses in fashion, from Balenciaga and Rick Owens to Vetements, Y/Project, Eckhaus Latta, and Jean Paul Gaultier. Throughout her career, she has collaborated closely with her lifelong partner, photographer Ronald Stoops.
Spines is a limited-edition newspaper featuring a collection of photographs by Julie Peeters, created to accompany the exhibition 2019, curated by Raimundas Malašauskas and Tom Engels at Grazer Kunstverein. In Peeters’ photographs from 2023 and 2024, magazines from the Milano Fashion Library stack like layers of sediment—decades of aesthetic history compressed into a single frame, each image carrying a quiet density of time. They reflect the archive’s paradox: vast reservoirs of culture, their treasures tantalizingly concealed behind the orderly facades of stacked spines.
Editor: Julie Peeters
Graphic Design: Julie Peeters
Publisher: BILL and Grazer Kunstverein
Produced by: Grazer Kunstverein
24 pages, color
Price: 20,- euros, 15,- for members
This publication coincides with the exhibition Lacrimosa by Josef Dabernig. It is the ninth in a series of compact volumes featuring visual contributions, correspondence, and conversations that accompany the exhibition program of the Grazer Kunstverein. The publication includes an essay by Krzysztof Kościuczuk and a visual essay by Dabernig, featuring photographs taken on the film set of Lacrimosa (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 elements of an eccentric children’s game in which the illustrious group navigates between intimidation, rebellion, and a dangerous staircase, all while grappling with existential questions.
Editor: Tom Engels
Text: Krzysztof Kościuczuk
Visual Essay: Josef Dabernig
Graphic Design: Julie Peeters
Printing and binding: Benedict Press, Münsterschwarzach
Edition: 350
Typeface: Kleisch GK by Chiachi Chao
64 pages, color
ISBN: 978-3-9505230-8-9
Price: 9,- euros, 5,- euros for members
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.
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
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
This publication coincides with the exhibition The Weight of the Concrete by Ezio Gribaudo in a scenography by Davide Stucchi. It is the seventh entry in a series of compact volumes featuring visual contributions, correspondence, responses, and conversations accompanying the Grazer Kunstverein exhibition program.
This volume contains photographic excerpts from Ezio Gribaudo’s series of achromatic embossed “Logogrifi” limited edition books, created between 1965 and 1972. These works challenge the conventional relationship between ink and material in print, using embossing to highlight the tangible process of creating printed matter. One of the key elements of Gribaudo’s work is the “logogrifo” (logogriph), a word puzzle derived from the Greek “logos” (word) and “griphos” (riddle). Typically, the logogriph, or a riddle in verse, involves altering words by adding, removing, or changing one letter at a time to form other words. In Gribaudo’s interpretation, a logogrifo oscillates between legibility and abstraction, serving both as readable forms and as a gateway to an enigmatic world where the image and language, disconnected from their origins, coalesce. This publication, The Weight of the Concrete, features a selection of pages from the “Logogrifi” books, uniquely complemented by an intervention on the back cover by Davide Stucchi as a conceptual and poetic response to its title.
Editors: Tom Engels, Lilou Vidal
Images: Ezio Gribaudo
Intervention: Davide Stucchi
Graphic Design: Julie Peeters
Photography: Martteo Ninarello, Martina Caravella
Edition: 350
Typeface: Kleisch GK by Chiachi Chao
64 pages, B&W
ISBN: 978-3-9505230-6-5
Price: 9,- euros, 5,- euros for members
This publication coincides with the exhibition Until Due Time, Everything Is Else by Pan Daijing. It is the sixth entry in a series of compact volumes featuring visual contributions, correspondence, responses, and conversations accompanying the Grazer Kunstverein exhibition program.
The images within this book are excerpts from a video created by Pan Daijing. This publication is intended to act as a sixth screen, aligning with a five-channel video installation on display in Until Due Time, Everything Is Else at Grazer Kunstverein.
Editor: Tom Engels
Image: Pan Daijing
Graphic Design: Julie Peeters
Printing and Binding: Benedict Press, Münsterschwarzach
Edition: 350
Typeface: Kleisch GK by Chiachi Chao
128 pages, color
ISBN: 978-3-9505230-5-8
Price: 13,- euro, 7,- euro for members
This publication appeared in conjunction with the exhibition Colorless Green Freedoms Sleep Furiously by Miloš Trakilović. It is the fifth in a series of small volumes of correspondence, responses, and conversations, which accompanies the exhibition program of Grazer Kunstverein.
The publication features a newly commissioned essay by Edwin Nasr, as well as an interview between Elena Petrović and Miloš Trakilović conducted on the occasion of the exhibition.
Editor: Tom Engels
Graphic Design: Julie Peeters
Printing and Binding: Benedict Press, Münsterschwarzach
Edition: 350
Typeface: Kleisch GK by Chiachi Chao
64 pages, color, English
ISBN: 978-3-9505230-4-1
Price: 9,- euro, 5,- euro for members
This publication appears in conjunction with the exhibition sekretas by Marija Olšauskaitė. It is the fourth in a series of small volumes of correspondence, responses, and conversations, which accompanies the exhibition program of Grazer Kunstverein.
secrets gathers words, plants, and glass contributed by Elena Narbutaitė, Marija Olšauskaitė, Maria Tsoy, Aleksandra Krivulina, and Tom Engels.
Editor: Tom Engels
Guest Editor: Elena Narbutaitė
Poems: Maria Tsoy
Photography: Marija Olšauskaitė
Graphic Design: Julie Peeters
Printing and Binding: Benedict Press, Münsterschwarzach
Edition: 350
Typeface: Kleisch GK by Chiachi Chao
64 pages, white on white with inlaid images
ISBN: 978-3-9505230-3-4
Price: 9,- euros, 5 for members