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.

A unique set of discursively related publications, which focus on transformative developments occurring in the realm of writing and speaking today as triggered by digital communication. These shifts are part of a wider cultural process…

A poster announces an event, for which guests from different professional backgrounds 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 32 different regional editions, all published in the same month.

A poster, indicating the regular opening hours of the Municipal Museum of Natural History, reads: Litany for voice. Identification of the 858 objects and mounted animals from Miani’s Africa expedition

Display of a particular, thematically meandering selection of printed matter, alluding to topics like “mask”, “speech” and “cultures”. Compiled from existing publications and ephemera by the artist, or by other artists and writers, it was layed out towards the gallery window.

The project developed for the Musée des Arts d’Afrique et d’Océanie, Paris, was based on the proposal to build a functional copy of the exhibition gallery West Africa/Ivory Coast, originally designed in the 1970s, and to place it in a central area of the museum, on ground floor level. This exhibition architecture and space was to be offered to a number of contemporary visual artists, designers, and filmmakers from Abidjan, Ivory Coast.