Produced on the occasion of the exhibition The Weight of the Concrete by Ezio Gribaudo with a scenography by Davide Stucchi. It contains photographic excerpts from Ezio Gribaudo’s series of achromatic embossed “Logogriff” 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.

Edited by Tom Engels and Lilou Vidal. Designed by Julie Peeters.

R,C appeared in conjunction with the exhibition RHYTHM, CITIZEN by Maria Toumazou. It is the third in a series of small volumes of correspondence, responses, and conversations, which accompanies the exhibition program of Grazer Kunstverein. R,C is a visual and textual passage through living and making in the Nicosian landscape. It combines artist statement, photography, and rap. R,C summons three voices: On The Solitary Crossing Of Impassable Passages, a statement by Koula Savvidou, written on the occasion of her eponymous exhibition at Diaspro Art Center, Nicosia, in 1995; EXHAUST, a selection of lyrics written by ‘Tasos Lamnisos / x.ypno for EE&ET (2021), a 10-track album by steliosilchuk & x.ypno; and a selection of 26 photographs taken by Maria Toumazou between 2021 and 2022.

Editor: Tom Engels. Conceptual Development: Maria Toumazou, Tom Engels, Julie Peeters. Translation: EXHAUST: Tasos Lamnisos, Maria Toumazou/ On The Solitary Crossing of Impassable Passages: Maria Toumazou, Koula Savvidou, Tom Engels. Graphic Design: Julie Peters.

secrets is a publication that gathers words, and glass summoned by Elena Narbutaitė and Marija Olšauskaitė. It is produced in conjunction with sekretas (Lithuanian for secret), the exhibition by Marija Olšauskaitė at the Grazer Kunstverein, which departs from a recreational activity performed by youngsters in the former Soviet Union. Stealthily, children would enter a courtyard, woods, or plains and place small objects under a piece of glass: flower petals, pictures, a note, golden bottle caps, shells, and other idiosyncratic elements would be organised and composed into a material expression of friend-ship. The pane would then be covered with earth or dust, as a sekretas withdraws from the eye.

With contributions by Elena Narbutaitė, Marija Olšauskaitė, Maria Tsoy, Aleksandra Krivulina, and Tom Engels, designed by Julie Peeters.

This publication appeared in conjunction with the exhibition we sat rigid except for the parts of out bodies that were needed for production by Sandra Lahire and Celeste Burlina. It is the first in a series of small volumes of correspondence, responses, and conversations, which accompanies the exhibition program of Grazer Kunstverein. With contributions from Celeste Burlina, Tom Engels, Laura Guy, Calla Henkel, Sandra Lahire, Julie Peeters, Charlotte Proctor, Kerstin Schroedinger and Miriam Stoney.

prefaces to appendage appeared in conjunction with the exhibition appendage by Iris Touliatou. It gathers a series of prefaces to the exhibition, written by Arnisa Zeqo, Lisa Holzer, Tom Engels, and Quinn Latimer, and preceded by scattered imagery of the Grazer Kunstverein’s infrastructure before the arrival of appendage. Convened by Iris Touliatou, these voices conjure premonitions, blessings, openings, or, simply put, moments of an attached before. Designed by Julie Peeters.

Works 1965–Today stems from a retrospective held at the Grazer Kunstverein showcasing Josef Bauer’s experiments with language, colour, and their spatial contexts nearly forty years after his last exhibition in Graz. His practice combines sculpture, installation, painting, and performance to disturb our perception of words and colours as mere “carriers” of meaning. By removing their two-dimensional context, letters become objects that communicate directly with our bodies in an unfiltered and urgent language called “tactile poetry.”

Edited by Krist Gruijthuijsen. Designed by Marc Hollenstein.