Curatoring / exhibition practices & history / museology / scenography

How have artists over the past 150 years related to migration and exile? And what role can a museum play in times of mass migration?

The republishing, in the form of a palimpsest, of the prefaces published in the various editions of the catalogue of the Damascus National Museum, from 1919 to the end of the last century.

This publication is the outcome of a touring assembly platform bringing together writers, curators, and art practitioners to reflect on exhibition practices and histories in China and Southeast Asia.

This artist's book / leporello gathers reproductions of artworks from the permanent collection of the Museum Ludwig, drawing out re­s­o­nances be­tween the dis­parate works.

A book of interviews with the curator and pedagogue Laurence Rassel, who develops in thought and action ways to remedy what ruins relationships and hinders emancipation.

A collection of conversations, essays, artists' projects, and inserts, critically reflecting on the concept of “exhibition history”.

An anthology of texts by the influential American critic and curator. The publication includes essays on artists, exhibitions, and curating, catalogue texts, and interviews.

This anthology gives voice to seven curators who discuss the conception of shows they organized that marked curatorial history thanks to their structural innovation in terms of exhibition siting.

An essay on art exhibition.

An in-depth study of the diorama in the United States at the beginning of the 20th century, a place for the creation and mediation of knowledge but also for the political construction of history, between art, anthropology and natural sciences.

The scenography of the project for the restructuring of the Besançon Museum of Fine Arts and Archeology by Architectures Adelfo Scaranello.

The 2 volumes of the catalogue documenting the project for the restructuring of the Besançon Museum of Fine Arts and Archeology by Architectures Adelfo Scaranello (special offer).

Presented as a work-in-progress, this text on American artist Rindon Johnson's video practice offers a reflection on the widening creative possibilities in the multimodal digital landscape, while discussing the political and personal aspirations of a new generation of artists and critics.

Anthology of essays written alongside the exhibitions at the Wattis Institute between 2014 and 2019. Celebrating the wide range of voices and forms of curatorial writing, this volume is a unique contribution to the study of art criticism, curation, and the history of exhibitions.

A series of essays and visual contributions critically reflecting on the current structures of knowledge within the art world.

Art as a set of practices which take as their theoretical and practical point of departure the whole of human relations and their social context: the manifesto that has renewed the approach of contemporary art since the 1990s.

This catalogue stems from an eponymous project on the Israel Museum in Jerusalem. The artist brought out an impressive photographic recension of artifacts, revealing the forgotten stories and fascinating polyphony of the museum's collections.

This reader gathers more than twenty leading curators and thinkers who present powerful case studies, historical analyses, and theoretical perspectives that address the dynamics of activism, protest, and advocacy in curatorial practice.

Daniel Birnbaum and Sven-Olov Wallenstein analyze the significance and logic of Lyotard's “Les Immatériaux” exhibition while contextualizing it in the history of exhibition practices, the philosophical tradition, and Lyotard's own work on aesthetics and phenomenology.

A transdisciplinary history of exhibitions.

An idiosyncratic investigation of curatorial practice.

This hybrid publication's starting point relies in ten years of activities of LiveInYourHead, Geneva School of Art and Design (HEAD)'s exhibition space. Between a catalogue, an archive and a collective publication, this book explores the relationships between art education and curatorial knowledge.

The temporality of curatorial processes and research practices.

A journey covering several episodes of Situationist International.

The sixth volume of the “Archives” series, which is dedicated to landmark exhibitions and curatorial practices, brings together two films by Belgian filmmaker Jef Cornelis on the opening of the Castello di Rivoli in 1985, whose inaugural exhibition was conceived by curator Rudi Fuchs, and the 1987 edition of Skulptur Projekte Münster, organized by Kasper König and Klaus Bussmann.

Catalogue documenting the project for the restructuring of the Besançon Museum of Fine Arts and Archeology by Architectures Adelfo Scaranello.

Simon Boudvin brings a narrative but also political depth to the architectural project of building the new museum of folklore in Mouscon.

Collection of essays by Nicolas Bourriaud on the protean, poetic and Rabelaisian Swedish artist Erik Dietman.

This reader addresses the concept of “contemporaneity”, the temporal complexity that follows from the coming together of different temporalities in the same present. It asks how these temporal qualities can be made known in the context of contemporary art research and particularly through practices that involve exhibitionary forms.

Based on a set of mostly unpublished archives, this book focuses on the role played by art dealers at the turn of the last century in the definition, promotion and circulation of African objects as artworks, in Europe and the United States.

This scholarly publication discusses the historical development of the Kunsthalle Bern and its implications for the “localization” of art. It contributes to current research on institutional histories by looking at the many ways in which the Kunsthalle Bern addresses the question of how exhibitionary practices take place.

Why has there been so much interest in “surplus value” in recent years? In “The Outside Can't Go Outside”, artist Merlin Carpenter considers how this term has been inserted into contemporary art theory following the financial crisis of 2007/8.

The first volume of the retrospective catalogue of Le Consortium contemporary art center (new edition).

A collection of texts about time and artists working with it.

A collection of texts about space and artists working with it.

Box set including a book and a film on DVD dedicated to the Theatergarden Bestiarium exhibition.

The first publication to pay tribute to Ambroise Vollard the Reunionese and to the exceptional gift made to his island in 1947, exhibited at the Léon Dierx museum.

The review of the Museum of Contemporary Arts in Grand-Hornu (MAC's) inaugurates its new formula with the theme of the museum and its criticism by artists. This issue showcases a selection of contemporary and international artistic projects reflecting on the concept of museum. With artists Yto Barrada, Christoph Büchel, Jacques Charlier, LaToya Ruby Frazier, Tamar Guimarães, Jompet Kuswidananto, Wesley Meuris, Rei Naito, Ryue Nishizawa, Noah Purifoy, Dayanita Singh, Fiona Tan, and Fred Wilson.

A compendium of essays, scripts, poems, and proposals compiled by the anonymous collective Studio for Propositional Cinema for their eponymous show at the Kestner Gesellschaft in Hannover. It investigates notions of script and staging in exhibition display. It features reknowned contributors such as Paul Chan, Keren Cytter, Irena Haiduk, John Miller, Cally Spooner, Lawrence Weiner et Christopher Williams.

A collection of new writing and curatorial projects stemming from the activities of the Kunsthal Aarhus, Denmark, from 2013 to 2014. These projects reflected on the conditions for making curatorial “events” that are extended over longer durations to connect their constituent elements—exhibitions, texts, projects—across space and time.

A collection of textual and visual essays stemming from a series of lecture-performances in which artists and curators experimented with various strategies of reprise in the fields of publishing, visual arts, animation, new technologies and the law.

Special issue dedicated to the relationship between and mutual influence of exhibition display and contemporary art practices. A pool of guest contributors—including Hans Ulrich Obrist, Mario García Torres, Simon Starling, Jens Hoffmann, Kim West, Liam Gillick, Gabriel Sierra, Morgan Fisher, Willem De Rooij, Céline Condorelli, and more—were invited to select illuminating cases of cross-pollination, and to compile extended captions for their chosen images.

A timeless photographic ballad, through a few shots taken in the archeology museum in Athens.

Publication based on the eponymous film by Etienne Chambaud and Vincent Normand in which the authors develop the concept of the “Decapitated Museum.” The voice-over in the film has been made into a one-edition book, which was rephotographed according to the technique the authors used to make the film. The outcome is a photography book that is as much a text document than an imaginary scene.

The sixth volume of Rémy Zaugg's complete writings (1982-1993): featuring some of the most influential texts written by the Swiss artist on art museum.

The seventh volume of Rémy Zaugg's complete writings (1984-2004): the publication brings together texts that formulate a practice and a criticism of exhibition that goes beyond genres and mediums, using concrete projects in given architectonic situations.

The heighth volume of Rémy Zaugg's complete writings (1988-1989): a portrait of Jean-Christophe Ammann.