Art history

The story of objectivity, by two of the greatest historians of science today.

A collection of texts, most unpublished in French.

A collection of mostly unpublished essays, notes and letters which shed a new light on Warburg's last studies.

A sourcebook on serial publications.

A comprehensive overview of Kantor's versatility, from his theater productions and actions to his painterly and sculptural works.

The "Mnemosyne" of sexual identity.

These Ruins You See shifts between politics, history, heritage, and identity in an attempt to find, in the present, the vestiges of archaeological practice in Mexico.

A collection of conferences for an exibition.

The first critical edition treating a fundamental text by one of the principle actors of Fluxus.

Richard Huelsenbeck's En avant dada is his first proclamation of Dada in Berlin.

The fourth and last poem by Kippenberger, written several days before his succombed to illness. A short letter of adieu, with two portraits of the artist by Elfie Semotan.

A study of German Renaissance painters and the social movements of the time.

“Reading” of the famous Artemisia Gentileschi (1593-1633) painting Judith et Holopherne by contemporary artists(Buren, Kosuth, Paolini, Sonneman, Twombly...); texts by Roland Barthes, Eva Menzio and Léa Lublin.

Hartung's early watercolor works on paper (33 tipped in full page color illustrations, under boxset).

A pioneering study of the relation between the fine arts and philosophy in France, from the aftermath of the 1789 revolution to the end of the nineteenth century, when a philosophy of being called "monism"—the concept of a unity of matter and spirit—emerged and became increasingly popular among intellectuals, artists and scientists.

Drawing on a material, cultural and social history of art, Hugo Daniel proposes to understand the recognition and redefinition of drawing by the avant-garde in the 1950s and 1960s, between the questioning of artists, the evolution of critics and the projects of gallery owners and curators, to show how drawing is understood as a complex reality, in act.