On an autumn day, within the context of prepa-
ring for an exhibition project, I was standing in an empty factory building in Geneva. The changes associated with the Berlin Wall were still a thing of the future. As I wandered among the regularly spaced columns on the vacant factory floor, I could not help but think of a number of criteria for exhibition spaces presented as necessities: solid walls, the white of those walls, entrances, series of adjoining rooms, and their influence on the act of exhibiting. At that moment it became clear that my own contextual perspective was very much bound up with a booklet Zaugg had published two years previously. In the recurring debate over whether architecture is the artist’s ally or his adversary, or whether, in view of the givens, one would simply could-shoulder it, I have often brought up the incisiveness of the text by Rémy Zaugg. Because that text is an artistic work which intervenes in precisely the debates that characterize the history of the development of artistic practices in and with architectural space to the present day.

Three audio-guides, made available to the visitors at the Hamburg Ethnographic Museum, in relation to the Oceanian, West-African, and Chinese collections on display, partly in the languages corresponding with the collections: Indonesian, Ewe and Chinese.

Conceived, written, and prepared for being published in a German art magazine, to coincide with a gallery exhibition. Next to an interview conducted with the director of the Stuttgart Ethnographic Museum, seven illustrations were painted, based on activities in the very museum.

A poster, a flyer, and newspaper ads announce an evening of public discussion. The invited participants of the panel are a heartsurgeon, a canyoning professional, a self-employed architect, and a sociologist, who debate risks, and the concept of risk in their respective activities and fields.

A poster announces an event, for which guests from different professional back- grounds are invited to a public debate in relation to a complete set of the international editions of ELLE magazine. Franchised around the world, the issue of ELLE on display appears in its today 34 different regional editions, all published in the same month.

Puppet characters from different national versions of the children’s TV program Sesame Street have been materialised as human size costumes. The hybrid group appears in a theatre-like setting, against a background of a painted city panorama, activating the space of the exhibition, which constitutes the work.

A continuously growing set of watercolour drawings, each of which is drawn after the cover of a primary school book, originating from a variety of the world’s languages.