In "Environment as a Place of Disquiet," Italien art critic and historian Antonio Grulli constructs an associative history and definition of disquiet spaces, leading to a reflection on art's contemporary situation. Grulli calls for a new understanding of the presentation of art beyond our "transparent" institutions and the white cube. 

Tymek Borowski, 2013

Flaka Haliti on how ghosts and haunting influence her work, the importance of the color blue, and how she navigates different types of spaces, starting with the politics of the personal space.

Vom "Wettkampf der Länder um die beste Kunst" zum "Schock der Moderne" – Jürgen Dehm, Co-Kurator der Ausstellung trigon 67/17, über die bahnbrechende 1967er-Ausgabe der Grazer Dreiländerbiennale Trigon

In the following text, author Daniel Zwangsleitner introduces us to a brief history of the post-war housing cooperatives and governmental building policies in Graz and Styria, a hot bed for the architectural avant-garde in Austria. In addition, he illustrates how the experimental 1967 exhibition trigon 67 influenced the ideas and coercion of participatory art and architecture in the area, leading to many new housing projects in which participation by its future inhabitants were key factors.

Artist Micol Assaël speaks about the importance of the viewer’s experience and how we should not privilege seeing over other bodily sensations because “there is always a bigger picture.”

Visualized data of trigon as a network by Branka Benčić and Tihana Puc; programmed by Mihael Giba

Die Arbeiten von Jelena Trivić bewegen sich auf der Grenze zwischen Skulptur und Bild, Malerei und Collage. In der Ausstellung „trigon 67/17“ im Künstlerhaus Graz ist einer Reihe dieser hybriden Kunstwerke zu sehen. Wir haben sie nach der Grenze zwischen Design und Malerei befragt, nach dem Stellenwert von Camouflage – und nach der Hochsprunglegende Dick Fosbury