Bill is an annual magazine of photographic stories without any accompanying text to prioritise visual reading without distraction. Designed, edited, and produced by designer Julie Peeters and associate editor Elena Narbutaite, this issue contains 184 offset printed pages on thirteen different paper stocks. Contributions for this issue include George Tourkovasilis, Cinzia Ruggeri through the lenses of Ilvio Gallo and Occhiomagico, SC103’s first runway, Inge Grognard, Adrianna Glaviano, the contact sheets of Santi Caleca, Rosalind Nashashibi, as well as magazine spreads from Anders Edström, Curtis Cuffie, and Hans Hollein.

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.

ZIP: 01–01–14…12–31–14 is an annual. It records, in photographs, one year of a work Yuji Agematsu has been making since the mid 1990s. To accomplish this work, Agematsu takes daily walks and drops what he finds into the cellophane wrapper from a cigarette pack. The book is accompanied by a facsimile of the notes Agematsu keeps to map when and where these objects were encountered. Produced in conjunction with exhibitions at Yale Union, Portland; Artspeak, Vancouver & Real Fine Arts, New York.

Photographed by Aaron Flint Jamison and Scott Ponik. Designed and edited by Julie Peeters and Scott Ponik with Robert Snowden.

Produced on the occasion of the exhibition Cut a Door in the Wolf at MACRO Museum, Rome, 11 November, 2021–16 March, 2022. An exhibition in the form of a single, site-specific artwork by Jason Dodge. In exploring systems made up of organic and inorganic matter, he is interested in the refuse that humans shed every day: micro- and macro-landscapes made up of the familiar and often discarded things that result from our individual and collective habits. Dodge recognises this not as a singular artistic process, but rather as a shared landscape in which cause and effect are circular phenomena that belong to everyone. He therefore investigates the potential of his audience as producers of meaning. This publication documents the work through a series of photographs.

In this post-truth era, how does one navigate the endless information available and choose a viable narrative of reality? In How to Know What’s Really Happening Glasgow-based writer and curator Francis McKee looks at various techniques for determining verity, from those of spy agencies and whistle-blowers to mystics and scientists.

Francis McKee is an Irish writer, medical historian, and curator working in Glasgow where since 2006 he has been the director of the Centre for Contemporary Arts, and is a lecturer and research fellow at Glasgow School of Art. McKee has worked on the development of open-source ideologies and their practical application to art spaces.

Designed by Julie Peeters and Valerie Arif.