Curatoring / exhibition practices & history / museology / scenography

What does it mean to be a curator who writes, and, more specifically, how can curators write about textiles? This publication steps outside the framework of the typical exhibition catalogue to occupy "the space between literature and criticism".

Jagna Ciuchta's first monograph reflects the collective, reflexive and evolving logic of the artist's work.

A double vinyl and a catalogue that constitute a proper extension of the exhibition with which the Capc in Bordeaux continues to question the forms that the museum can take, with the aim of creating a renewed awareness of what it means to breathe, both on an individual and collective level, at a time when the world is living in a climate of generalized asphyxia.

Conceived as a catalogue and an artist's book, the publication offers a deeper insight into the eponymous 2022 exhibition staged at Indipendenza Roma, and explores tensions that can be generated between artworks and their surrounding architectural context, raising questions of taste, value, function and decoration.

Twenty renowned international curators write about one of their exhibitions or projects that transformed their ideas about curating.

The project Islands of Kinship interconnects six mid-scale visual art institutions across diverse regions in Europe in an innovative collaboration model addressing issues of inclusion, kinship and togetherness, democratic exchange and the ethics, emotions and practical solutions for a sustainable and fair institutional operation.

With Postproduction, the third and final issue of In Medias Res, Fluentum's research project on the history of its premises concludes by literally taking stock of both the production of and productivity inherent in moving images.

A polyphonic approach to the emergence, since the 2000s, of new institutional forms dedicated to performative artistic practices.

Using an interdisciplinary approach inspired by science and technology studies, and combining museological and sociological perspectives, this groundbreaking study of museum storerooms sheds new light on the world of art and cultural heritage conservation.

The history of nonprofit and alternative exhibition spaces in Bologna from 1977 up to the present.

A reflection on the relation between art, museum institutions and climate activism.

MUdec United, the publication of the MUDEC – Museo delle Culture di Milano, one of the Italian leading institutions, is a book-zine dedicated to interdisciplinary research on world cultures. The second issue questions the quintessential symbolic device of the museum machine: the showcase—a tool of preservation, mummification, and desire, with many stories to tell.

The new adventure of the Musée Mobile (a traveling museum aimed at making contemporary art accessible to those who are far from it, from the earliest age, that has been touring France, Europe and Africa since 2011), in partnership with the Centre Pompidou: the first museum truck dedicated to Europe's largest collection of modern and contemporary art, designed by architect Isabel Hérault and artist Krijn de Koning, travelling to various regions and villages.

An essay on the new challenges facing exhibition curators.

Conversations about embodied strategies of knowledge production and knowledge transmission based on the choreographic and curatorial practices of about fifteen international choreographers, performers, dramaturges and curators.

The Complex Answer presents the reader with a selection of texts—from 2010 to 2021—that introduce an exercise in how a practice of art and exhibition making has been influenced by philosophical thinking.

Looking back at a decade of activity of the project space Kinderhook & Caracas, this compendium showcases the work of the 83 Berlin-based artists whose practices have crossed paths through the small room on Kreuzbergstraße and several off-site projects around the city.

This book retraces Thierry Prat's career as a player and witness to the history of contemporary art in France for over forty years, through a series of interviews that highlight the main issues at stake.

The first major work on the history and current importance of the Biennale of Young Artists, known as the "Biennale de Paris", which took place between 1959 and 1985, bringing together thirty-five texts by international authors, including some testimonies from actors who took part in the Biennale.

Spike #76, around the theme of artists' lives and careers.

The protocol and the action of the New Patrons: the radical transformation of the conditions of emergence and appropriation of the art as political act.

Spike #75 fêtes the museum in all its stuffy, messy, showy, old-timey glory, as a home-away-from-home, the address of solace and astonishment. Featuring William Pope.L, Simon Wu, Louise Lawler, Ben Davis, Ann Demeester, Anthony Hudek, Meschac Gaba, Bernadette Van-Huy, Ghislaine Leung, Estelle Hoy, Tea Hacic-Vlahovic, and many more. 

A "post-episode" of a series of curatorial projects based on the Kontakt Collection and dedicated to the artist Mladen Stilinović.

In this compelling rethinking of curatorial practice, renowned museum director, curator, and writer Bonaventure Soh Bejeng Ndikung proposes that Pidgin languages and pidginization as a mode of being and doing offer a decolonialized reinvention of communicative practices.

A critical investigation into the material heritage and entangled histories of Western encyclopedic museums.

Conserving the Future is the book that bears witness to twenty-five years of curating contemporary art in the same place: the Fondazione Querini Stampalia in Venice.

An artist's book on photography, cemeteries and museum archives.

Archives on Show brings the potential of reformulating the social and political relevance of archives by curatorial means into focus.

A transnational and transhistorical investigation carried out in the heart of museum and artistic practices between France and Senegal in the 1950s to 1970s, inviting us to decentralize our views in order to consider the globalized history of art of these years in a new light.

After a previous focus on questions of historiography and the archive, In Medias Res #2: Architecture in Motion continues Fluentum's ongoing investigation into the history of its grounds with a focus on its architecture and surrounding material culture, both past and present.

An analysis of the failed experiment of an exhibition of the Situationists that ought to have taken place at the Stedelijk Museum in Amsterdam in 1959, and of the Situationist International's ambivalent relationship with the format of the exhibition, the museum and the institution.

The current ecological crisis brings about a new relational landscape: an unprecedented collapse of distances creates interspecies promiscuities and a crisis of the human scale. In Inclusions, Nicolas Bourriaud proposes that artists are the anthropologists of this new era.

Curator without a System brings together, for the first time in English, a rich variety of essays by the curator Viktor Misiano written between 1988 and 2005.

Afterall #53 "Medium/Metaphor/Milieu" looks at the exhibitionary in and beyond exhibitions. Gathered through the notions of medium and milieu, it looks at a range of practices and modes of thinking that foreground the exhibitionary in concrete, spatial, architectural and experiential terms.

Nicolas Bourriaud invites artists from all around the world to question the contemporaneity of the romantic concept of the sublime, at the age of the anthropocene.

Nicolas Bourriaud invites artists from all around the world to question the contemporaneity of the romantic concept of the sublime, at the age of the anthropocene.

A perspective on the challenges related to training, professionalization, social rights and aesthetic and theoretical concerns of young artists, through the assessment of the activities of GENERATOR, a unique program of experimentation, professional training and international residency for curators.

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

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

A feminist approach to broaden and challenge traditional art historical definitions of institutional critique.

Through four case studies, Curating beyond the Mainstream researches decolonial and other non-hegemonic approaches to the profession of curating in Sweden from the 1960s to the early 2000s.

Through conversations with curators and participating artists, this book revisits some of the most groundbreaking yet under-researched European and US public art exhibitions of the 1980s and 1990s.

An analysis of the relations created by the curatorial—relations that also constitute it.

Alternative forms of curatorial and institutional work suitable to our novel conditions, when the relationship between physical and online work must be revised.

The current crisis of museums and the future of Institutional Critique.

A history of the museum of modern art, exhibitions and discourses on art and its public in the 20th century, from the trajectory of Jean Cassou (1897-1986), writer, resistance fighter, art critic, poet and chief curator of thenational museum for modern art of France from 1945 to 1965.

The audience's human body and the museum institution.

An in-depth ex-post reflection on Documenta 14 by one of its curators, Pierre Bal Blanc, with the contribution of Adam Szymczyk.

The eminent art historian and curator Jean-Hubert Martin takes a singular look at the collection of the Musée d'art et d'histoire de la Ville de Genève by abolishing hierarchies and thus encouraging to return to the primary relationship between the artwork and the viewer.