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 Kosciuczuk and a visual essay by Dabernig, featuring photographs taken on the film set of Lacrimosa (2024). Edited by Tom Engels. Designed by Julie Peeters.

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.

Inge Grognard 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.

Designed by Julie Peeters.

This comprehensive catalogue documents the installation of Isa Genzken’s eponymous exhibition at Neue Nationalgalerie Berlin, 13 July–27 November, 2023. Alongside many photographs, the catalogue assembles texts by Dieter Schwarz, Sabine Breitwieser, Manfred Hermes, Tom McDonough, Juliane Rebentisch, Isa Genzken, conversations with Isa Genzken and Wolfgang Tillmans, and Isa Genzken and Diedrich Diederichsen, a preface by Klaus Biesenbach and Lisa Botti, and a new essay by Diedrich Diederichsen. Designed by Julie Peeters, edited by Daniel Buchholz and Christopher Müller.

Bill is an annual magazine of photographic stories without any accompanying text to prioritise visual reading without distraction. Designed, edited, and produced by Julie Peeters and associate editor Elena Narbutaitė, it includes contributions by Ketuta Alexi-Meskhishvili, filmmaker Gillian Garcia, Swiss visual artist Beat Streuli, Takashi Homma, Adrianna Glaviano, French visual artist Mimosa Echard, British-Palestinian artist Rosalind Nashashibi, Martiniano shoes, and Amsterdam photography studio Blommers/Schumm.

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.

Born in Hartsville, South Carolina, Curtis Cuffie moved to New York as a teenager, first residing with his brothers in Brooklyn. In his adult life, Cuffie spent time unhoused in the streets of Manhattan where he found both inspiration and materials for his work as an artist. Cuffie’s sculptures interpret material street culture in the 1990s and early 2000s, using discarded and found objects assembled and transformed into collaged figures that speak to both the abject reality of urban surplus as well as the magical alchemy of artistic creation. Built by Cuffie outdoors, primarily on the sidewalks around Astor Place and along the Bowery, his sculptures were subject to the whims of weather, police interference, and the sanitation department, as well as Cuffie’s own continued interventions into his work. Edited by Scott Portnoy and Robert Snowden with Ciarán Finlayson and designed by Julie Peeters.