Curatoring / exhibition practices & history / museology / scenography

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.

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.

A resource book for curatorial studies and exhibition history, based on the case of the Göteborg International Biennial for Contemporary Art.

Ten contemporary Italian writers dialogue with the works displayed in the exhibition inaugurating Luca Lo Pinto's program at the Museum of Contemporary Art in Rome.

A visionary analysis of what Terry Smith identifies as the "visual arts exhibitionary complex."

Le Dictateur releases his last big, immense, effort: 27 international curators from the world of art, design and fashion curate their ideal show, from past, present or even future or non existing artists but without using images—only words.

Histories Read Across, Fluentum's inaugural issue that opens the publication series In Media Res, examines how (his-)stories are told, narratives are conceived, and knowledge is produced.

My Barbarian, Tauba Auerbach, Petrit Halilaj, This American Wife, Meret Oppenheim, Kayode Ojo, Judy Chicago,Louise Fishman, Yannis Tsarouchis, Ericka Beckman... and more than 35 exhibition reviews from around the globe.

This publication documents and discusses Tensta konsthall's experimental multi-year project "Tensta Museum: Reports from New Sweden" that ran from 2013–18 in Tensta and beyond. By pretending to be a museum, the project created a richly contrasting patchwork stretching over six years, in which manifold interests and expressions together formed a narrative with tensions and conflicts erupting around questions like "what history and heritage?," "to whom do they belong?" and "what about the present?"

The publication Bande à part discusses the reasons, means, and rationales of a range of recent independent art institutions, which often have a small economy yet create a considerable impact within their respective art scenes.

On the occasion of the 10th anniversary of MuMo (Musée Mobile), this fourth volume traces the journey of a new museum truck, designed in 2017 by designer Matali Crasset to circulate the works of the Fonds régionaux d'art contemporain (Frac) and the Cnap – Centre national des arts plastiques.

The use by artists of objects coming from the collections of museums of art, science, and society.

Robert Longo, Ed Atkins, Pattern and Decoration, The Velvet Underground, Mona Hatoum, Jay DeFeo, Huguette Caland...

An essay by the distinguished philosopher and theorist of art and media on the current evolution and possible future of museum collections practices and strategies.

Rethinking the role of the museum today.

Artforum turns to efforts by artists, historians, and curators to rethink the underpinnings of the museum institutions.

The Louvre invites itself to Reunion Island: a dialogue between the collections of the island's five museums and those of the Department of Graphic Arts.

Crossed interviews around the project of the curator Mathieu Copeland, who transposes the exhibition to the stage for the duration of a show, pursuing his investigation into the nature of an exhibition.

Crossed interviews around the project of the curator Mathieu Copeland, who transposes the exhibition to the stage for the duration of a show, pursuing his investigation into the nature of an exhibition, accompanied by a libretto that gathers the transcriptions of the texts of the thirteen invited artists.

A series of essays and visual contributions critically reflecting on the questions of hospitality safety, security and care.

Part of Bodies of Water, the 13th Shanghai Biennale, and following its lines of research, this publication, a 354-pages book conceived as a unique and parallel platform to the exhibition, offers an ensemble of inspiring texts that reflect and extend the theme of the Biennale.

A critical analysis of the format of the curatorial residency as a research model.

The call is clear: Museums must change. Amid an ongoing global pandemic and growing demands for decolonization, racial justice, and economic parity, culture needs new tools for structural transformation. In the first of two special issues focusing on this urgent topic, Artforum has invited some of our leading theorists, curators, artists, and museum directors to consider how art institutions might evolve.

The posthumous catalogue of one of the most personal curatorial projects of Igor Zabel (1958-2005).

Created by the author-poet Frédéric Forte, the "Questions obliques" cards, with their three levels of difficulty, question the visitor of an exhibition on his perception of an artwork.

The collection of the Musée d'art et d'histoire de la Ville de Genève revisited by the transversal scenographic interventions of the Viennese artist and performer Jakob Lena Knebl, who turns perspectives upside down and radically renews our perception of the works.

The collection of the Musée d'art et d'histoire de la Ville de Genève revisited by the transversal scenographic interventions of the Viennese artist and performer Jakob Lena Knebl, who turns perspectives upside down and radically renews our perception of the works.

An augmented reissue of the guide to the Tiskiwin museum in Marrakech, created by collector and anthropologist Bert Flint following his various travels through Transsaharian Africa.

An augmented reissue of the guide to the Tiskiwin museum in Marrakech, created by collector and anthropologist Bert Flint following his various travels through Transsaharian Africa.

An analysis of the exhibition pavilions (universal exhibitions and bienniales) from the point of view of their architecture, crossing the contributions of designers and architects, historians, philosophers and aestheticians.

This biography of a fictitious artist constitutes a critical analysis of the professionalization of arts education as well as a support for reflection in favor of the socio-economic responsibilities of artistic practices.

The first study of all the archives and documents relating to the artist's museum created by Martin Kippenberger.

Anne Dressen talks about her curatorial practice (and more broadly about the world in which it takes place); Nick Mauss, with whom the curator exchanges regularly, intervenes in her text, by insertions and echoes.

Published on the occasion of the forty-year anniversary of Chantal Crousel Gallery, this extensive publication (more than 700 pages) traces the history of the gallery, a major actor on the contemporary art scene, in France and abroad.

An artistic research on the political construction of representations of socialist and capitalist modernity during the Cold War, through a history of exhibitions.

A new essay by curator and publisher Mathieu Copeland about Arnaud Labelle-Rojoux's reinvention of Allan Kaprow's environment The Apple Shrine and considering, more generally, the themes of reinvention in art and the exhibition form.

The catalogue / temporal synthesis of the evolutionary and challenging exhibition at CAN, Neuchâtel.

Published on the occasion of the forty-year anniversary of Chantal Crousel Gallery, this extensive publication (more than 700 pages) traces the history of the gallery, a major actor on the contemporary art scene, in France and abroad.

Curating performing arts (a research project by Reykjavik-based curators Alexander Roberts and Ásgerður G. Gunnarsdóttir).

The collected reviews and interviews of art critic, curator, and artist Christian Egger.

A survey of the history of temporary exhibitions in France, through a series of interviews with 38 curators.

This comprehensive publication by the art foundation Thyssen-Bornemisza Art Contemporary (TBA21) engages with more than 100 works of art in over 1,300 pages, proposing a speculative topography that organizes and weaves together sequences of potential narratives and interrogations along with close examinations of different works of art and a collective archive of images.

In Exhibition-ism, theorist and artist Mieke Bal develops the idea that exhibiting is a significant form of the contemporary.