Frontpage

Podcast conversation between Marie-France Rafael and Hinrich Sachs, about the multi-author editorial framework Fog Friend Font: Ways of Doing Multilingual Sense.

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Displaying Multilingualism?

2020

A portfolio comprising…

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Neun Arbeiten (Solo und Ensemble)

1994

Album

1997

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.

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Risiko(verhalten)

1998

Bild 301

    Dedicated to experimental writing and linguistics, the publication compiles selected txt messages mixing letters, or characters, and emojis…

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Ear, Mind, Eye, Pad

2019

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.

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Dreaming to Point Out a Situation. An Afterword

2013