Curatoring / exhibition practices & history / museology / scenography

The ninth volume of Rémy Zaugg's complete writings (1986-2005): a reflection on the artist's projects for public spaces, illustrated with personal statements and sketches.

Merlin Carpenter investigates the status of the midcareer artist with a conceptual project involving the exhibition of transit blankets. The publication documents these works and related gallery shows, in addition with texts by Kunsthalle Bern director Valérie Knoll and artist Sam Lewitt.

This publication documents a work by David Horvitz made on the occasion of a Bas Jan Ader-themed exhibition in Holland in 2012. Annoyed by the curators, Horvitz literally disappeared one month before the show, leaving all his belongings and quitting social media. He returned on the exhibition's closing day, and explained his piece to the curators.

Study book made by artist George Trakas in response to a commission issued by inhabitants of the Lamelouze commune in the southern French region of Gard, north of Alès (as part of the “New Patrons” program, initiated and supported by the Fondation de France).

Centro de Arte 2 de Mayo in Madrid invited Oriol Vilanova to intervene in the center's collection of graphic works. Developing its reflections on the modalities of exhibitions, Vilanova collected and exhibited empty window cases from Madrid's museums.

Artistic practices in New York's alternative art spaces (1969-1985).

Publication documenting an interactive installation by Samuel Bianchini commissioned by the Maison du geste et de l'image in Paris as part of the “New Patrons” program.

This publication extensively documents the exhibitions and activities of M/2, a local but emblematic example of an artist-run space founded at the end of the 1980s in Vevey, Switzerland.

Helke Bayrle has—on her own initiative—filmed the installations of exhibitions that have been held at Portikus since the end of 1992. This catalogue features more than 1,000 film stills, a full index of the recorded exhibitions, as well as texts by curators and deans who worked at Städelschule and Portikus over the years.

Since 2008, Walead Beshty photographs the art people he works with at every stage of his projects. This first volume features a gallery of black and white portraits spanning from 2008 to 2012.

Drawing on examples from France and the United States, this publication offers a multidisciplinary reflection on a new type of engagement of art in democracy, renewing relationships between creation, culture and society (adaptated from a French publication on the New Patrons's activities, updated with contributions from the Anglo-American intellectual scene).

A story of the Grévin wax museum in Paris from 1881 to 1921.

This book is the first compilation of the history of the Mamco; it offers a diachronic path through the institution's first 22 years of existence, from its foundation in 1994 up to 2016, and presents some one hundred exhibitions via illustrations, as well as a brief introductory text describing the characteristics and formats of the shows, and some of traces they have left in the collection.

A collective survey on the current conditions of art and culture in Central and Eastern Europe.

This book is the first compilation of the history of the Mamco; it offers a diachronic path through the institution's first 22 years of existence, from its foundation in 1994 up to 2016, and presents some one hundred exhibitions via illustrations, as well as a brief introductory text describing the characteristics and formats of the shows, and some of traces they have left in the collection (also available in English).

The museum of contemporary art in all its paradoxical characteristics.

Filmed inside a series of empty museum galleries across Paris, Ali Cherri's Somniculus articulates the tension between the lives of dead objects and the living world that surrounds them—thus highlighting their ideological value. This publication accompanies and complete the Lebanese artist's video project.

The 63rd edition of the Jahresring series—one of the longest continually published annual journals for contemporary art in Germany—focuses on the practice of curating in Southeast Asia, a region experiencing a time of increased global visibility as well as nation and institution building.

Future Imperfect critically examines the role played by cultural institutions in producing present-day and future contexts for the production, dissemination, and reception of contemporary art in the Middle East and North Africa.

Hubs and Fictions, originally a touring forum, invited international curators, writers, and producers to probe how fiction plays out in a globally distributed art-world ecology, and how infrastructures are invented against its background. This unconventional reader gathers documents, negotiations, and reflections from and on these conversations.

Documentation around 17 commissioned artworks set in middle schools, as part of the Percent for Art Program established in the French Department of Seine-Saint-Denis.

Expanding its mapping of landmark exhibitions and curatorial history from the 1960s to today, the “Archives” series dedicates its fifth DVD to Sonsbeek, an art manifestation held in 1971 and 1986 in and around Arnhem (Netherlands). Mainly showcasing large installations and sculptures in natural surroundings, these two events are crucial to the history of outdoor exhibitions, shifting the boundaries of traditional sculpture.

Creating Bob: a food truck with a living, warm and hospitable public purpose, set close to Lille-Europe Train Station and commissioned as part of the “New Patrons” program.

Reflecting upon the necessary conditions for the development of the New Patrons Protocol, the French conceptual artist calls for a better involvement of museums as well as for an art history that would relate creative processes with political conditions.

Reflecting upon the necessary conditions for the development of the New Patrons Protocol, the French conceptual artist calls for a better involvement of museums as well as for an art history that would relate creative processes with political conditions.

Art magazines as exhibition objects and spaces.

Cave is a series of publications dedicated to contemporary collecting. The first issue looks into the territory of the public collection considering it both a semantic ground for institutional collecting as well as political and cultural infrastructure.

Starting from the art collection of the museum M in Leuven, Vilanova reflects on the artof exhibiting and explores display modes from showcases to postcards.

A reader examining the curatorial approaches of New Institutionalism—which emerged in the 1990s to reshape the art institution into a more democratic and egalitarian public sphere.

This catalogue examines the role of the Museion Bolzano in the urban environment of Bolzano city in Italy by looking back at the museum's history and mission from the perspective of artists in all disciplines: architects, filmmakers, performers, musicians, composers, etc. These are joined by a number of major historical works that have inspired the exhibition throughout its conception and helped our understanding of museographic history.

A compilation of insightful, first-hand accounts of art making, art criticism, and exhibition organizing from the early-1970s to the present.

A manual for public art projects in Zurich.

Dominique Pasqualini addresses his singular thoughts on photography and the impossibility of its exposure.

Liaisons urbaines [Urban Connections] chronicles the development and implementation of an eponymous programme for enhancing public spaces in African cities by operations that combine urban planning and development, design, art and heritage.

The role of infrastructure and logistics in today's art scene

Since the set up of Xavier Veilhan's The Monster in the center of Tours in 2004, the statue has been subject to various cultural appropriation by the locals. This book aims to document both the development of the project as part of the New Patrons program as well as the life of the statue within the city.

A collection of interviews with artists and curators.

A review of three commissioned works executed by artist Nicolas Floc'h in isolated communities in Santiago, Chile, Rennes, and Tours, France, as part of the New Patrons program.

A collection of essays and interviews on the issue of curatorship in contemporary art with Pierre Restany, Zoran Kržišnik, Harald Szeemann, Daniel Buren, Charles Esche and Walter Benjamin.

What would an exhibition be like if we changed the environment from the gallery, museum, or Kunsthalle, to that of the cinema? (a project by Mathieu Copeland, with Chantal Akerman, Peter Downsbrough, Liam Gillick, John Giorno, Philippe Grandrieux, Isidore Isou, Philippe-Alain Michaud, Meredith Monk, Lee Ranaldo, Susan Stenger, Alan Vega, Jacques Villeglé, Lawrence Weiner, Apichatpong Weerasethakul...).

Le Jardin hospitalier documents Jyll Bradley's eponymous site-specific artwork produced in April 2015 under the auspices of the Fondation de France's New Patrons program, at Hospital Roger Salengro in Lille, France. The artist has transformed a 100m long, window-less corridor into an immersive installation—a promenade—with black-lit photographs, literary texts and tactile sculptural elements

A documentation of the art space located in the center of Paris and programmed by Lionel Bovier & Clément Dirié, in relation with the editorial activities of Anna Sanders Films, bdv, Les presses du réel and JRP|Ringier.

An historical study on the legitimation process of drawing in contemporary art and curatorial practices.

An historical study on the legitimation process of drawing in contemporary art and curatorial practices.

Theater of Exhibitions analyzes “art after the end of art,” questioning whether inherited frameworks of making, theorizing, and exhibiting art still apply to contemporary practice.

Art and the City 2.0.

A documentation on Claude Closky's artwork commissioned by the Paste association as part of the New Patrons program.

In 69 / 96, Fredi Fischli, Niels Olsen and Bob Nickas enter an inter-generational dialog about exhibitions that is both personal and art historical, presenting works from 1969 and 1996 (catalogue).

Summer Winter East West discusses Martin Beck's engagement with display not only as a tool of presentation but also as a form of communication—within and beyond the realm of the exhibition.