Until Due Time, Everything Is Else

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

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.

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

BILL 5 contains 192 offset printed pages printed in CMYK, silver,
black and white on a dozen different paper stocks with
some Japanese bound signatures.

Sand, wind, tide, bills, tulips, LA, parking lots, waves, thoughts, bagels, prints, Tokyo, orchids, horses, backs, balm, magazines, updates, shadows, Elena's shoe, two mudbaths and a garage door...

by Boyle Family, Jochen Lempert, Ketuta Alexi-Meskhishvili, Gillian Garcia, Beat Streuli, Takashi Homma, JP, Adrianna Glaviano, Mimosa Echard, Rosalind Nashashibi, Gerald Domenig, Christian Kōun Alborz Oldham, Martiniano, Blommers Schumm

In How to Mend: On Motherhood and its Ghosts, Kayfa ta’s 4th monograph, Iman Mersal navigates a long and winding road, from the only surviving picture of the author has with her mother, to a deep search through what memory, photography, dreams and writing, a search of what is lost between the mainstream and more personal representations of motherhood and its struggles. How to mend the gap between the representation and the real, the photograph and its subject, the self and the other, the mother and her child. 

Iman Mersal is an Egyptian poet and associate professor of Arabic Literature and Middle Eastern Studies in the University of Alberta, Canada.

Text: Iman Mersal
Editors: Maha Maamoun and Ala Younis
Translated from Arabic by Robin Moger
Co-publishers: Kayfa ta and Sternberg Press
Design: Julie Peeters
Size: 9.6 x 14.8 cm
Pages: 168 pages, Soft cover

Publication including the films Transformation Scenario, 70.001, and Faux Terrain, as well as a visual essay, a glossary and texts by Heike Geißler, Fanni Fetzer, and Franciska Zólyom.

“When I visited the Elias Canetti archive at the Zentralbibliothek Zurich, I was looking for manuscripts and sketches for his major work Crowds and Power (1960). I imagined that Canetti must have made drawings, as the behaviour of the various crowd types he identified was described in such detail. I hoped that these drawings would help me transfer the group behaviour he describes to virtual figures in an animated film.

The archive of manuscripts, arranged by Elias Canetti himself, was handed over to the Zurich library and contains the notes and sketches he completed during the development of Crowds and Power, a period of almost forty years. However, in this context I found no drawings—Canetti had only made graphic lists on various themes. So where did Canetti's precise descriptions of the scenes come from?”

Clemens von Wedemeyer (born 1974 in Göttingen, lives and works in Berlin) creates films, videos and media installations poised between reality and fiction, reflecting power structures in social relations, history and architecture.

Edited by Fanni Fetzer and Franciska Zólyom.
Texts by Heike Geißler, Fanni Fetzer, Franciska Zólyom.

I am Welton Santos reenacts a dialogue between the Brazilian geo-bio-architect Welton Santos and an Interviewer. The book, which is always read collectively, is used in reading performances by groups of at least 3 people.

Printed on the occasion of an artist residency at PAV, Parco d’Arte Vivente, Turin, July 2016. Texts based on transcripts of interviews with Welton Santos.

“Today is the day with the letter,” Celan writes to Bachmann on October 30, 1957. Theadora Walsh’s essay-poem, The Almond concerns, for I hesitate to write “about” or “is in relation to”, the love between Paul Celan and Ingeborg Bachmann. Two Austrian writers flung across Europe by the atrocities of the Holocaust, excavating the narrows of a language not theirs, or taken from them. An almond is the closest two people can be, and becomes the binding structural conceit of the book, two segments reaching across the blank page to each other, across history, time and language.

This issue uses the font designed for german news magazine Spiegel by amazing Lucas de Groot. The color poster is part of the full print of the series “Les Filles d’Amsterdam” by photographer Jean-Luc Moulène. It is the first time this series is printed in book form and in an exclusive interview the artist tells the story of that work.

Contributors: Lily Wittenburg, Maren Grimm & Jakob Krameritsch, Michael Milano, Assaf-Evron, Sophie Thun, Juliana Huxtable, Interview with Jean-Luc Moulène, poster by Jean-Luc Moulène, Magda Tóthová, Peter Machen on Brenda Fassie, Mariah Garnett, Shady El NoshokatyTommy Støckel